Swing (e.g., Glenn Miller, Benny Goodman) -

Moblie:- 8668266780

Vrindawan Academy

Swing (e.g., Glenn Miller, Benny Goodman)

Swing (e.g., Glenn Miller, Benny Goodman) ?

Swing is a style of jazz music that became highly popular in the 1930s and 1940s. It is characterized by its rhythmic drive, syncopated beats, and big band arrangements. This era of music saw the rise of famous bandleaders such as Glenn Miller and Benny Goodman, who played pivotal roles in bringing swing music to a mainstream audience.

  • Glenn Miller: Known for his smooth, melodic style and his iconic big band, the Glenn Miller Orchestra. He is best known for hits like “In the Mood,” “Chattanooga Choo Choo,” and “Moonlight Serenade.” His orchestra was famous for its tight arrangements and clear, danceable rhythms.
  • Benny Goodman: Known as the “King of Swing,” Benny Goodman was a clarinetist and bandleader who helped popularize swing music. His band’s performances at the Palomar Ballroom in 1935 are often credited with marking the beginning of the swing era. Some of his famous tunes include “Sing, Sing, Sing,” “Let’s Dance,” and “Stompin’ at the Savoy.”

Swing music is often associated with lively, upbeat tempos and is a staple of jazz dance, especially the Lindy Hop. Both Miller and Goodman were instrumental in elevating swing music, and their recordings continue to be celebrated as classics in the genre.

What is Swing (e.g., Glenn Miller, Benny Goodman) ?

Swing is a style of jazz music that emerged in the 1930s and became one of the most popular genres in the United States during the 1930s and 1940s. It is known for its upbeat rhythms, syncopation, and the distinctive “swing” feel created by playing off the beat. The music encourages dancing, particularly styles like the Lindy Hop and other swing dances.

Key Features of Swing:

  1. Rhythm and Syncopation: Swing music has a rhythm that “swings,” meaning it often emphasizes off-beats, creating a syncopated groove. Drums and bass provide a “four-on-the-floor” rhythm, but the other instruments add syncopation.
  2. Big Bands: Swing was typically performed by big bands, usually consisting of brass (trumpets, trombones), woodwinds (saxophones), and a rhythm section (piano, bass, drums, and sometimes guitar). These large ensembles created a rich, layered sound.
  3. Improvisation: Like other forms of jazz, swing allows for improvisation, but it is often structured within a framework or arrangement that is shared by all band members.
  4. Danceable: The rhythm and upbeat tempo of swing music made it ideal for dancing, particularly dances like the Lindy Hop, Jitterbug, and East Coast Swing.

Prominent Artists in Swing:

  • Glenn Miller: Known for his smooth, melodic big band arrangements, Glenn Miller’s orchestra was one of the most popular swing bands of the era. His hits like “In the Mood,” “Chattanooga Choo Choo,” and “Moonlight Serenade” became anthems of the swing era.
  • Benny Goodman: Often referred to as the “King of Swing,” Benny Goodman was a clarinetist and bandleader who helped bring swing to mainstream audiences. His band’s performance at the Palomar Ballroom in Los Angeles in 1935 is seen as a pivotal moment in the rise of swing. Famous tracks include “Sing, Sing, Sing” and “Stompin’ at the Savoy.”

Swing played a major role in the popularization of jazz and was instrumental in defining the sound of the 1930s and 1940s. It remains a timeless and influential genre of music.

Who is required Swing (e.g., Glenn Miller, Benny Goodman) ?

The term “Swing” in the context of artists like Glenn Miller and Benny Goodman refers to a style of jazz music that became popular during the 1930s and 1940s. Swing music requires skilled musicians, particularly those who can perform in large ensembles known as big bands. Here’s a breakdown of who is involved or required for swing music:

1. Bandleaders and Musicians:

  • Bandleaders like Glenn Miller and Benny Goodman were key figures in the swing era. They were responsible for organizing the band, selecting the music, and shaping the overall sound.
  • Musicians in swing bands typically played a variety of instruments, including:
    • Brass instruments (e.g., trumpets and trombones)
    • Woodwind instruments (e.g., saxophones and clarinets)
    • Rhythm section (e.g., drums, bass, piano, and sometimes guitar)
    • Vocalists (who would perform swing standards, although the focus was often on the instrumental arrangements)

2. Composers and Arrangers:

  • Composers and arrangers play a crucial role in swing music. They create the intricate arrangements that define the swing style. Many bandleaders, like Duke Ellington and Count Basie, were also talented arrangers and composers.

3. Dancers:

  • Swing dancers (such as those who perform the Lindy Hop, Jitterbug, or East Coast Swing) are essential to the culture of swing music. These dancers influenced the rhythm and timing of the music, and the music itself was designed to be rhythmically engaging for dancers.

4. Audience:

  • Swing music, especially during its heyday, was meant to entertain large audiences at venues like ballrooms and clubs. The music’s energetic and rhythmic qualities made it very popular for dancing and enjoying with a crowd.

5. Ensemble Performers (Big Band):

  • Big Bands require a combination of instruments and talent, including multiple sections of brass, woodwinds, and rhythm players, all working together to create a unified sound. For example, Glenn Miller’s Orchestra had an arrangement that included saxophones, trumpets, trombones, and a rhythm section.

In summary, musicians, composers, arrangers, dancers, and bandleaders like Glenn Miller and Benny Goodman are the key figures required to create and popularize swing music. The style itself thrives on collaboration and performance, with each group contributing to the energetic, rhythmic essence of swing.

When is required Swing (e.g., Glenn Miller, Benny Goodman) ?

The swing music style, as exemplified by artists like Glenn Miller and Benny Goodman, was particularly prominent during the 1930s and 1940s, reaching its peak of popularity in the mid-1930s to early 1940s. It became a central part of both American cultural life and the jazz scene, and its influence extended across various forms of entertainment.

Here’s a breakdown of when swing music was most needed and relevant:

1. The Swing Era (1930s-1940s):

  • 1930s: Swing emerged as a popular style in jazz, blending syncopated rhythms and brass-heavy big band arrangements with improvisation. It became a staple of the dance hall culture and was widely appreciated for its lively, rhythm-driven sound.
  • Mid-1930s to 1940s: Swing music reached its peak popularity, especially with the rise of big bands led by figures like Benny Goodman, Glenn Miller, Duke Ellington, and Count Basie. Bands performed in ballrooms, theaters, and on the radio, and swing became a cultural phenomenon that transcended jazz.

2. World War II (1940s):

  • During World War II, swing music was at its height. Many of the big band leaders, such as Glenn Miller, performed for troops and entertained at home with USO tours. Swing was also a form of escapism and morale-boosting during wartime.
  • Glenn Miller’s “In the Mood” and other hits became anthems of the time, providing a sense of unity and relief during difficult years.

3. Post-War Era and Decline (Late 1940s – 1950s):

  • After World War II, the rise of bebop (a more complex and smaller ensemble form of jazz) led to the decline of big band swing as the dominant style. However, swing music continued to influence jazz and was a key foundation for later developments in jazz music.

4. Modern Resurgence (Late 20th Century – Present):

  • Although swing faded as a mainstream genre in the 1950s and 1960s, it has experienced resurgences in popularity during various periods, especially in the 1980s and 1990s with the rise of neo-swing bands like The Cherry Poppin’ Daddies and Big Bad Voodoo Daddy.
  • Swing is still relevant today in certain swing dance scenes and retro-style performances, with people continuing to dance to classic swing tunes and celebrate the music through performances, events, and festivals.

In summary, swing music was most needed during the 1930s-1940s, particularly during the Swing Era and the World War II period. However, the influence of swing has continued, with periods of revival and ongoing appreciation in both jazz and popular culture.

COURTESY : Tolis Delta

Where is required Swing (e.g., Glenn Miller, Benny Goodman) ?

Swing music, as popularized by artists like Glenn Miller and Benny Goodman, was required and enjoyed in several key locations during its peak in the 1930s and 1940s. Over time, its influence extended to other regions and communities. Here’s where swing music was most needed and appreciated:

1. Dance Halls and Ballrooms:

  • Swing music was central to dance culture, and its primary setting was ballrooms and dance halls. These venues were particularly popular in cities like New York, Chicago, and Los Angeles, where large crowds would gather to dance to the music of big bands.
  • Famous venues like The Savoy Ballroom in Harlem, New York, and The Palomar Ballroom in Los Angeles (where Benny Goodman famously brought swing to a wider audience) were key locations for live swing performances.

2. Radio Stations:

  • Radio was an essential platform for swing music in the 1930s and 1940s. Bands like Glenn Miller’s Orchestra and Benny Goodman’s Band had regular radio broadcasts, reaching national audiences. Radio shows helped spread the swing craze across the U.S., allowing people from all over the country to tune in and enjoy the music.
  • Popular radio programs like “The Glen Miller Orchestra” and “Benny Goodman’s Swing Band” became major sources of entertainment.

3. Concert Halls and Theaters:

  • Swing bands performed in major concert halls and theaters around the United States and abroad. These performances were often sold-out events, drawing large crowds who came to hear live music and see the big bands in action.
  • For example, Benny Goodman’s Carnegie Hall concert in 1938 is considered a landmark event that solidified swing’s place in American culture.

4. Military and War-Related Venues:

  • During World War II, swing music played a significant role in boosting morale. Many swing bands, including Glenn Miller’s orchestra, performed for troops both at home and abroad. The USO tours and military camps were venues where swing music was highly in demand.
  • Glenn Miller’s performances for the military were particularly iconic, as his music brought comfort to soldiers, both at home and overseas.

5. Nightclubs and Jazz Clubs:

  • Nightclubs and jazz clubs across the United States, especially in New York City (e.g., Cotton Club) and Chicago, were important places where swing music could be enjoyed. Jazz musicians and bandleaders frequently performed in these smaller, more intimate venues, attracting both locals and tourists.

6. International Appeal:

  • Swing music wasn’t limited to the United States. European countries, especially the United Kingdom, embraced swing during the 1930s and 1940s. The American big bands performed in venues like London’s Palladium and Paris’s Olympia.
  • Glenn Miller’s orchestra had a particularly strong following in Europe, and their music became a part of the cultural landscape during wartime.

How is required Swing (e.g., Glenn Miller, Benny Goodman) ?

Swing music, as popularized by artists like Glenn Miller and Benny Goodman, requires a specific musical approach, musicianship, and cultural context to be performed effectively. Here’s an overview of how swing music functions:

1. Musical Structure and Arrangement:

  • Swing Rhythm: Swing music is defined by its rhythm, which features syncopation (emphasizing off-beats) and a distinctive “swing” feel. This is achieved through a rhythmic pattern known as “triplet swing”, where the beat is divided in a way that feels relaxed and fluid, rather than rigid or straight.
  • Big Band Arrangements: Swing is typically performed by large ensembles known as big bands. These bands consist of sections such as brass (trumpets, trombones), woodwinds (saxophones, clarinets), and a rhythm section (drums, bass, piano, and guitar). The music requires complex arrangements where each section plays an important role in creating a rich, layered sound.
  • Improvisation: While swing music is often structured with written arrangements, it also includes sections of improvisation, particularly by soloists (e.g., clarinet for Benny Goodman or trumpet for Louis Armstrong). Musicians need to be skilled in improvisational techniques within the context of the arrangements.

2. Skilled Musicianship:

  • Big Band Instrumentation: Swing requires a variety of skilled musicians, including:
    • Brass players (trumpets and trombones) who provide the bold, vibrant sound.
    • Woodwind players (saxophones, clarinets) who add melodic and harmonic complexity.
    • Rhythm section musicians (piano, bass, drums, guitar) who keep the swing groove and drive the music.
  • Jazz Soloists: Skilled soloists, like Benny Goodman on clarinet or Glenn Miller on trombone, need to be able to improvise and interpret melodies creatively within the framework of the big band arrangement.

3. Cultural and Social Context:

  • Danceable Beats: Swing music is designed to be danceable, with rhythms that encourage movements like the Lindy Hop or East Coast Swing. For this reason, musicians and bands must perform in a way that allows dancers to follow the rhythm while also maintaining musicality.
  • Ensemble Coordination: In a big band, musicians must work together to create a seamless performance. Swing requires precision in timing, articulation, and dynamics. It’s not just about individual solos but about how the band interacts and communicates through the music.

4. Live Performance and Communication:

  • Live Music: Swing is best experienced live, where the musicians can engage with the audience and each other. Benny Goodman and Glenn Miller became famous not just for their recordings but for their live performances, where their music created a sense of excitement and energy in the venue.
  • Energy and Audience Interaction: The success of swing depends on the energy of both the performers and the audience. The music requires a vibrant atmosphere, often achieved by up-tempo tunes, brilliant solos, and rhythmic drive, creating a dynamic connection between the performers and the audience.

5. Technology and Media:

  • Radio and Recordings: Swing music was propelled into mass popularity through radio broadcasts and recordings. For bands like Glenn Miller’s and Benny Goodman’s, recording was crucial in reaching a wider audience. The music requires high-quality sound production to capture the nuances of the arrangements and the energy of the performances.
  • Live Broadcasts: Swing music often required broadcasts on the radio to reach national and international audiences, which was essential for bands to spread their music far and wide.

6. Training and Practice:

  • Swing musicianship demands extensive training in jazz techniques, sight-reading, and ensemble playing. It also requires practice in developing a groove that’s essential for the swing feel—keeping the rhythm fluid yet grounded.
  • Swing musicians must also be well-versed in ear training to respond to musical cues and improvised solos, working with the other band members in real-time.

7. Historical and Modern Context:

  • Historical Context: In its original form, swing was essential to the Great Depression era and later, the World War II era, as it helped lift people’s spirits. It was the sound of escapism and joy, required during tough times.
  • Modern-Day Swing: While its mainstream popularity has diminished, swing music is still required in modern jazz ensembles, retro-themed dance events, swing dance clubs, and tribute performances. Swing is celebrated at festivals, jazz clubs, and educational institutions.

In conclusion, swing music requires skilled musicians, precise big band arrangements, a danceable rhythm, and the ability to perform in live settings with audience interaction. It also requires a cultural and social context that allows the music to thrive, whether during its golden age or in its modern revival.

Case study is Swing (e.g., Glenn Miller, Benny Goodman) ?

A case study of Swing music, particularly exemplified by artists like Glenn Miller and Benny Goodman, explores the cultural impact, musical innovations, and business strategies that defined this genre during its peak in the 1930s and 1940s. Let’s break it down into a detailed case study:

Case Study: The Swing Era – Glenn Miller and Benny Goodman

1. Introduction: The Rise of Swing

  • Time Period: The Swing Era, often regarded as the Golden Age of Big Bands and jazz, spanned from the late 1920s to the mid-1940s.
  • Social and Cultural Context: Swing music emerged during the Great Depression, offering a source of entertainment and escapism. In the face of hardship, it became a symbol of joy and unity.
  • Audience: Swing music was embraced by a wide demographic, from the upper class attending elite venues to the working class and soldiers. It was particularly popular among young people, many of whom were involved in swing dancing.

2. Key Figures: Glenn Miller and Benny Goodman

  • Glenn Miller:
    • Known for his smooth, accessible sound, Glenn Miller led one of the most popular swing orchestras in the late 1930s and early 1940s.
    • His most famous pieces, such as “In the Mood” and “Moonlight Serenade”, defined the “sweet” side of swing, combining melodic clarity with strong rhythms.
    • His orchestra’s success was largely due to tight arrangements and the distinctive sound of the brass and reed sections, which created a smoother, more radio-friendly style than the more complex and fast-paced styles of other swing bands.
    • Glenn Miller’s music provided comfort to soldiers during World War II, and he even toured military bases to boost morale.
  • Benny Goodman:
    • Known as the King of Swing, Benny Goodman was a clarinet virtuoso and a bandleader who helped popularize swing music in both the United States and internationally.
    • His band was the first to perform at Carnegie Hall in 1938, a landmark event in jazz history that symbolized the legitimization of swing music.
    • Goodman’s success was due to his ability to merge jazz improvisation with sophisticated arrangements, making it appealing to both dancers and music connoisseurs.
    • Benny Goodman is also notable for integrating his band, hiring African American musicians like Teddy Wilson (piano) and Lionel Hampton (vibes), which was groundbreaking during a time of racial segregation.

3. Business Strategy and Market Expansion

  • Radio and Recordings:
    • Both Glenn Miller and Benny Goodman used radio broadcasts as an essential marketing tool, reaching millions of listeners nationwide. Radio allowed them to build a loyal audience and promote their music to diverse demographics.
    • They also capitalized on the recording industry, releasing numerous hit singles that were widely distributed, particularly through major labels like RCA Victor.
    • Benny Goodman’s “Let’s Dance” radio program was a major success and helped promote swing to a national audience.
  • Live Performances:
    • The live performance was critical to the success of both Miller and Goodman. Swing bands, with their large ensembles and intricate arrangements, provided a spectacle for audiences, who were eager to experience the live energy of the music.
    • Famous venues like the Savoy Ballroom in Harlem (for Goodman) and The Hollywood Palladium (for Miller) became iconic in the swing world, serving as key sites where swing music reached its cultural peak.
  • Touring and Military Engagement:
    • Glenn Miller’s orchestra is particularly known for its USO tours during World War II. These tours took the music directly to soldiers, boosting morale and providing entertainment to troops.
    • Both Miller and Goodman also toured internationally, spreading swing’s popularity across Europe, especially in war-torn regions where music provided solace and joy.

4. Musical Innovations and Influence

  • Swing Rhythms:
    • At its core, swing music features a rhythmic “groove” that distinguishes it from other forms of jazz. The swing rhythm is based on syncopated beats and triplet subdivision, creating a “laid-back” feel that was perfect for dancing.
    • Glenn Miller’s arrangements were melodic and harmonic, using clear lines and repetition to create familiar hooks that were easy for listeners to follow. His sound, often referred to as “sweet swing,” emphasized melody and smoothness over complexity.
    • Benny Goodman, on the other hand, was known for incorporating more complex jazz elements into his music, including improvised solos and harmonic exploration, setting him apart as a more traditional jazz bandleader.
  • Innovation in Orchestration:
    • Both bandleaders were known for their innovative arrangements. Glenn Miller’s band was particularly noted for its use of the “block chord” arrangement, where brass and woodwinds would play in harmonized unison.
    • Benny Goodman’s band featured improvisational solos alongside carefully crafted arrangements, allowing his musicians to shine individually within the larger framework of the band.

5. Cultural and Social Impact

  • Dancing:
    • Swing music gave rise to swing dancing, including styles like the Lindy Hop and East Coast Swing, which became central to the culture of the 1930s and 1940s.
    • The energetic, improvisational style of swing dancing was a form of social expression, and venues like the Savoy Ballroom in Harlem were packed with people dancing to the infectious rhythms of swing music.
  • Breaking Social Barriers:
    • Benny Goodman’s inclusion of African American musicians in his orchestra (such as Teddy Wilson and Lionel Hampton) was groundbreaking. At a time when racial segregation was still widespread, Goodman’s band provided an example of racial integration, contributing to the civil rights movement.

6. Challenges and Decline

  • By the mid-1940s, the popularity of swing music began to decline as younger audiences turned to bebop and cool jazz, genres that offered a more complex and intellectual alternative to the danceable rhythms of swing.
  • Glenn Miller’s disappearance in 1944 during a flight over the English Channel (during World War II) marked a significant blow to the swing era.
  • However, Benny Goodman’s legacy continued into the 1950s and beyond, as he adapted to different jazz styles and remained an influential figure in jazz music.

7. Legacy and Modern Relevance

  • Swing’s legacy endures through modern swing dance communities, big band performances, and tribute bands that still perform the music of Glenn Miller, Benny Goodman, and other swing greats.
  • Swing music also remains a significant part of jazz education, with students learning the intricate rhythms, arrangements, and improvisation techniques associated with the genre.

Conclusion

  • Swing music, embodied by figures like Glenn Miller and Benny Goodman, represents a dynamic period in American history where music became a source of both social cohesion and entertainment.
  • These artists excelled not just in musicality but in their ability to navigate the business and cultural aspects of
  • the music industry. Their success is a combination of musical innovation, strategic marketing, and a profound connection with their audiences.

COURTESY : Swingin’ in the Rennes

White paper on Swing (e.g., Glenn Miller, Benny Goodman) ?

White Paper: The Swing Era and Its Impact on American Music – Focusing on Glenn Miller and Benny Goodman


Introduction

The Swing Era (1930s-1940s) represents one of the most pivotal periods in the history of American music. Characterized by big bands, complex arrangements, and an infectious rhythmic groove, Swing defined the cultural landscape of the United States during the Great Depression and World War II. Leading this revolution were two of the most iconic figures in the genre: Glenn Miller and Benny Goodman. This white paper explores the musical innovations, cultural significance, and lasting impact of Swing, with a specific focus on these two legendary bandleaders.


1. Background and Origins of Swing

Swing music emerged from the broader context of jazz, which originated in the African American communities in the early 20th century. By the late 1920s, jazz had begun to shift from small group improvisation towards larger ensemble performances, paving the way for what would become known as Swing.

  • Jazz Roots: Early jazz pioneers like Louis Armstrong and Duke Ellington laid the groundwork for what would develop into the Swing style, marked by syncopation, improvisation, and vibrant rhythms.
  • Big Band Influence: Big bands were essential to Swing’s development. They used arrangements that allowed for complex harmonies and a larger ensemble sound than traditional jazz quartets and quintets.

By the early 1930s, Swing began to establish itself as a dominant force in American popular music, combining jazz improvisation with orchestral arrangements that could sustain large audiences.


2. Glenn Miller: Defining the “Sweet” Swing Sound

Glenn Miller (1904-1944) was one of the most successful and influential bandleaders of the Swing Era. His distinctive sound made him a household name, with hits that became synonymous with the era.

  • Musical Innovation: Miller’s music was defined by its melodic accessibility, using clear, catchy themes and smooth, harmonic arrangements. His band’s sound was often referred to as “sweet swing” because of its pleasant, flowing, and radio-friendly tone.
  • Key Works: Songs like “In the Mood”, “Moonlight Serenade”, and “Chattanooga Choo Choo” became huge hits and are still revered as emblematic of the Swing Era.
  • Orchestral Style: Glenn Miller’s arrangements were often simpler than those of other bandleaders but carried immense emotional impact. His tight brass and reed sections delivered harmonized melodies, while his arrangements emphasized clear structures and easy-to-follow rhythms.
  • Military Contribution: During World War II, Miller enlisted in the U.S. Army and formed the Army Air Forces Band. His music played a vital role in boosting the morale of American soldiers, performing for military personnel both in the U.S. and overseas. Tragically, Miller’s plane disappeared during a flight over the English Channel in 1944, cutting short his promising career.

3. Benny Goodman: The “King of Swing” and a Revolution in Jazz

Benny Goodman (1909-1986), known as the “King of Swing”, was an instrumental figure in both the popularization and the advancement of swing music.

  • Musical Excellence: Goodman, a virtuoso clarinetist, had a remarkable ability to blend complex jazz improvisation with structured orchestral arrangements. His band featured some of the most skilled jazz musicians of the time, including Teddy Wilson (piano), Lionel Hampton (vibraphone), and Charlie Christian (electric guitar).
  • Innovative Performances: In 1938, Goodman’s band performed at the legendary Carnegie Hall in New York City, marking the first time a jazz band had performed at the venue. This performance is widely regarded as a defining moment for jazz, showing that it was a legitimate and respected art form on par with classical music.
  • Social Change and Integration: One of Goodman’s most significant contributions was his effort to break racial barriers in music. He was one of the first to integrate his band, hiring African American musicians like Teddy Wilson and Lionel Hampton at a time when racial segregation was prevalent in both society and the music industry. This move played a part in the early civil rights movement, signaling a cultural shift toward racial equality.
  • Touring and Radio Success: Goodman’s national tours and radio programs were crucial to spreading swing music across the U.S. His “Let’s Dance” radio show was particularly popular, bringing swing to homes across America and ensuring the widespread appeal of his band.

4. Cultural Impact of Swing Music

  • Escapism During the Great Depression: Swing provided escapism from the harsh realities of the Great Depression. Its rhythmic, energetic style offered a form of relief for struggling Americans, allowing them to dance, forget their troubles, and enjoy the vitality of life.
  • Swing Dancing: The music was deeply intertwined with swing dancing, particularly the Lindy Hop, which became a popular social activity during the 1930s and 1940s. Dance halls like the Savoy Ballroom in Harlem were packed with young people enjoying the music and the community it fostered.
  • World War II and Patriotism: During World War II, swing music played a pivotal role in maintaining national morale. Glenn Miller’s USO tours and Goodman’s radio broadcasts to the troops exemplified the unifying power of music, offering support and patriotism to soldiers overseas.

5. The Decline of Swing and the Rise of Bebop

By the mid-1940s, the popularity of Swing began to wane, primarily due to:

  • The Influence of Bebop: The complexity of bebop, which emerged in the 1940s, started to overshadow swing. Bebop featured fast tempos, intricate melodies, and complex harmonies, making it a preferred style for serious jazz musicians, which contrasted with the more commercial, dance-oriented focus of swing.
  • Post-War Changes: The end of World War II brought changes to the musical landscape, as many young musicians sought new forms of jazz that moved beyond the polished arrangements of swing.

6. Legacy of Glenn Miller and Benny Goodman

Despite the decline of swing in the late 1940s, the legacies of Glenn Miller and Benny Goodman have endured:

  • Glenn Miller: His music continues to be iconic, frequently heard in film, television, and big band revivals. The Glenn Miller Orchestra still performs today, keeping the swing tradition alive.
  • Benny Goodman: Goodman’s contributions to both jazz and social change are still widely celebrated. His career is seen as a bridge between the classic jazz of the 1920s and the more complex modern jazz that followed.

Both figures helped shape the future of jazz and popular music by bridging gaps between different musical styles, and by contributing to social and cultural change through their music.


7. Conclusion

The Swing Era, represented by the works of Glenn Miller and Benny Goodman, was one of the most transformative periods in the history of American music. Their contributions not only defined the sound of an era but also facilitated the integration of jazz into mainstream American culture, playing a critical role in social change and national morale during turbulent times.

As swing music continues to be celebrated through modern big band ensembles, swing dance communities, and musical education, the influence of Glenn Miller and Benny Goodman remains an essential part of the cultural fabric of the 20th century. Their music stands as a testament to the enduring power of rhythm, harmony, and collaboration in music.


References

  • Miller, Glenn. “In the Mood.” 1939.
  • Goodman, Benny. “Sing, Sing, Sing.” 1937.
  • “The Swing Era: The Development of Big Bands and Swing Music” by Ted Gioia.
  • “Benny Goodman: The King of Swing” by James Lincoln Collier.

Industrial application of Swing (e.g., Glenn Miller, Benny Goodman) ?

Industrial Application of Swing Music (e.g., Glenn Miller, Benny Goodman)

While Swing music, epitomized by artists like Glenn Miller and Benny Goodman, is primarily associated with cultural, entertainment, and social movements, its influence has had certain indirect and unique industrial applications. These applications span various sectors, including the entertainment industry, media, marketing, and even manufacturing environments where music is used to boost morale or enhance productivity.

Here’s a breakdown of how Swing music’s industrial applications can be recognized:


1. Entertainment Industry and Live Performances

Swing music revolutionized the live entertainment industry in the 1930s and 1940s, leading to the development of big bands and live performances that continue to thrive in modern times. This industrial use includes:

  • Concerts and Festivals: The industrial aspect of Swing comes into play with large-scale concert events, festivals, and live performances. Swing bands often perform in arenas or stadiums, with sound engineering, lighting technology, and event management playing significant roles in making these events successful.
  • Music Production: Swing music created a demand for sound engineers, composers, and performers in the entertainment industry. The recording industry boomed as major record labels recorded and distributed Swing music to the masses.
  • Musical Theater and Broadway: Elements of Swing are also found in musical theater and Broadway shows, where live performances of Swing classics or modern renditions continue to captivate audiences. Productions like “Swing!” and “Benny & The Jets” demonstrate the commercial and industrial relevance of Swing music in theatrical performances.

2. Media and Advertising

Swing music has been employed in radio shows, advertising, and television broadcasts. The industrial application of Swing in media includes:

  • Radio and Broadcasting: The rise of Swing music’s popularity led to its heavy use in radio broadcasts, where it became a staple of shows like Benny Goodman’s Let’s Dance radio program. Radio stations and broadcasters used Swing’s rhythmic, energetic style to reach a broad audience. Today, Swing music continues to be used in retro radio stations and as part of theme music in various media outlets.
  • Advertising and Jingles: The lively, energetic nature of Swing has made it an attractive choice for advertising campaigns. Companies have used Swing-style jingles to convey joyful, energetic, and uplifting messages in advertisements across print, radio, and digital platforms.
  • Television Shows and Movies: Swing music plays a critical role in setting the tone in period films and TV shows, especially those set in the 1930s and 1940s. Examples include the use of Glenn Miller’s “In the Mood” in contemporary movies like The Glenn Miller Story or in retro-styled TV ads and programs.

3. Corporate and Industrial Environments

In corporate and manufacturing environments, music has long been used to enhance productivity and employee morale. Swing music, with its upbeat and engaging rhythm, has had industrial applications in this area:

  • Factory and Assembly Line Settings: During World War II, Swing music was frequently used in factories and workplaces to lift the spirits of workers, increase morale, and provide a sense of community and patriotism. The tempo of Swing encouraged rhythmic movement, often used as a motivational tool to maintain energy during long shifts.
  • Workplace Productivity: Music with an energetic, rhythmic structure like Swing can promote productivity and efficiency in work environments by reducing stress and encouraging employee engagement. In some modern offices or creative industries, Swing music is used during breaks or work hours to enhance focus and foster a positive atmosphere.
  • Team-Building Activities: Companies involved in team-building exercises, especially in sectors like hospitality or retail, may incorporate swing dance lessons or team-building activities revolving around Swing music to boost morale, improve cohesion, and enhance employee interaction.

4. Marketing and Merchandising

Swing music’s nostalgic and uplifting quality has been utilized as a marketing tool to target specific demographics and market segments, especially in campaigns that aim to evoke nostalgia, luxury, or timeless elegance. Applications include:

  • Product Launches and Branding: Brands often use Swing to tap into vintage, classic, or glamorous imagery. Fashion brands, for example, may use Swing music in commercials or storefront displays to evoke a sense of 1930s-40s style, promoting elegance, charm, and fun.
  • Events and Sponsorship: Events like vintage car shows, luxury galas, or charity functions may incorporate Swing music as part of the ambiance to reinforce the brand’s high-end or classic values.

5. Music Education and Training

Swing music has played a crucial role in music education, especially in jazz programs at schools and universities, with institutions offering dedicated courses on Swing history, jazz theory, and big band performance. This application of Swing in education involves:

  • Music School Curricula: Universities and conservatories incorporate Swing music and its related techniques into their jazz programs, using the styles of Glenn Miller and Benny Goodman to teach young musicians ensemble performance, improvisation, and orchestration.
  • Instrumental Training: Learning to play classic Swing arrangements helps budding musicians understand swing rhythms, big band instrumentation, and performance dynamics, making Swing a key component in the education of brass, woodwind, and rhythm section players.

6. Swing in the Digital Age

In the digital age, Swing music has found new industrial applications in areas like:

  • Video Games and Interactive Media: Swing music is often featured in video games set in the 1930s-40s, like L.A. Noire or BioShock Infinite, to provide an immersive experience and transport players to the era.
  • Digital Streaming and Music Apps: Platforms like Spotify, Apple Music, and YouTube feature playlists dedicated to Swing, helping new generations access and enjoy the music. This digital availability ensures Swing remains relevant and accessible for future consumers and musicians.

Conclusion

Though Swing music is primarily associated with the entertainment and cultural sectors, its industrial applications are wide-ranging. From influencing the media and advertising industries to enhancing productivity in work environments and inspiring team-building activities, Swing continues to make its mark. Moreover, its educational and cultural importance keeps Swing alive as a powerful tool in music education and commercial applications, proving that the rhythm and spirit of Glenn Miller and Benny Goodman still have relevance in modern industrial contexts.

Research and development of Swing (e.g., Glenn Miller, Benny Goodman) ?

Research and Development of Swing Music (e.g., Glenn Miller, Benny Goodman)

The development and research of Swing music have been influenced by a combination of cultural, historical, and technological factors. Swing emerged as a dominant genre in the 1930s and 1940s and became a key element of big band jazz, with figures like Glenn Miller and Benny Goodman at the forefront. Over time, Swing music has evolved both musically and culturally, with its research and development expanding into several areas, such as musical theory, cultural studies, technological advancements, and performance practices.

Here’s a breakdown of the research and development that contributed to Swing music and continues to shape its legacy:


1. Historical Research: Roots of Swing

The development of Swing music is deeply tied to the evolution of jazz in the early 20th century. Researchers have examined the origins of Swing, which can be traced back to the Harlem Renaissance and earlier jazz movements in New Orleans. Key elements that played a role in the development of Swing include:

  • Ragtime and Dixieland: Early jazz forms, including Ragtime (a syncopated piano style) and Dixieland jazz (characterized by improvisation), laid the foundation for Swing’s rhythm, harmony, and improvisational techniques.
  • The Harlem Renaissance: The cultural explosion of African-American art, music, and literature in Harlem during the 1920s helped shape the musical innovations that led to the Swing era. Artists like Louis Armstrong and Duke Ellington were instrumental in transitioning from traditional jazz to the big band sounds of Swing.
  • The Influence of African Rhythms: The rhythmic structure of Swing can be traced back to African rhythmic traditions, where syncopation and polyrhythms were central. African-American musicians, many of whom came from the Southern United States, adapted these rhythms into the swing feel that would define the genre.

Research into these early influences has provided valuable insights into how Swing developed as a distinct form of jazz music, influenced by both African and European traditions.


2. Musical Research: Swing’s Structure and Theories

The musical theory behind Swing has been extensively researched, especially in the realms of syncopation, rhythmic feel, and harmonic progressions. Key areas of focus include:

  • The Swing Rhythm: Central to Swing music is its characteristic “triplet feel”, which involves playing rhythms in a slightly uneven, “swung” manner. Researchers have studied the role of swing eighth notes (where the first note of the pair is lengthened slightly and the second is shortened) in creating the genre’s signature groove.
  • Big Band Arrangements: Swing music is often performed by big bands consisting of brass, woodwinds, and rhythm sections. The development of arranging techniques that allowed for complex interweaving harmonies and counterpoint between sections became a hallmark of Swing. Composers and arrangers like Gil Evans and Ellington made significant contributions to the evolution of big band structure.
  • Improvisation and Soloing: While Swing relied on written arrangements for the most part, improvisation played a crucial role in the genre. Researchers have examined how soloists in Swing bands, like Benny Goodman and Coleman Hawkins, used chromaticism, modal scales, and blues-based improvisation to add individual expression to performances.

Scholars of jazz theory have studied these aspects to better understand how Swing blends both structured and improvised elements, resulting in a distinctive sound.


3. Technological Advancements: Impact on Swing Music

Technological innovations in the early 20th century played a major role in shaping the Swing era and its subsequent development:

  • Recording Technology: The phonograph and radio made it possible for Swing music to reach a global audience. Researchers have examined how the introduction of better recording technology in the 1930s allowed for more sophisticated sound production. Victor Records and Columbia Records were the primary outlets for Swing recordings, and research on these records has provided insight into the commercial development of Swing.
  • Radio and Broadcasts: Swing music’s popularity was also boosted by its heavy use in radio broadcasts, including famous programs like Benny Goodman’s “Let’s Dance” and Glenn Miller’s Orchestra. Broadcast technology in this era helped Swing music to become a mainstream form of entertainment, reaching millions of people across the United States and beyond.
  • Live Performance and Sound Reinforcement: The microphone and amplification systems that were developed for live performances during the Swing era allowed orchestras to project their sound more effectively to large audiences. Research into the history of live performance during this period reveals the technical challenges and innovations of performing big band jazz to thousands of listeners.

4. Sociocultural Research: Swing’s Impact on Society

Swing music is often studied in the context of its sociocultural impact, as it played a significant role in shaping the social and cultural landscape of the 1930s and 1940s:

  • Swing and the War Effort: During World War II, Swing music was seen as a form of morale booster for both soldiers and civilians. Research has focused on how the USO tours and big band performances helped to maintain public spirit during wartime. Glenn Miller’s “In the Mood” became an anthem of this period, and his music helped unite the American public in a time of crisis.
  • Racial Integration and Civil Rights: Swing music was a racially integrated genre, with white musicians like Benny Goodman collaborating with African-American artists like Teddy Wilson and Lionel Hampton. Research has explored how Swing music helped challenge racial segregation in the music industry and promote integration. Goodman’s historic concert at the Carnegie Hall in 1938 is seen as a milestone for racial equality in jazz music.
  • The Dance Culture: Swing music is also inseparable from the dance culture of the time, specifically the Lindy Hop and Jitterbug. Research into Swing’s role in dance culture has explored how music and dance evolved together and became a significant part of American youth culture.

5. Modern Adaptations and Revival

In recent decades, researchers have studied how Swing has been revived and reinterpreted in modern times:

  • Neo-Swing Movement: In the late 1990s, the neo-swing movement saw a resurgence in the popularity of Swing music. Bands like Big Bad Voodoo Daddy and Cherry Poppin’ Daddies helped introduce Swing to a new generation. Research in this area explores how contemporary musicians adapt classic Swing elements to modern tastes while maintaining its essential feel.
  • Fusion with Other Genres: Modern artists and producers have experimented with combining Swing with other genres like rock, hip-hop, and electronic dance music. This fusion of Swing with contemporary genres represents an area of ongoing research, examining how Swing’s musical elements can evolve and remain relevant in today’s diverse musical landscape.
  • Swing in Popular Culture: Swing continues to be a popular cultural reference, often used in films, commercials, and even video games. Research in cultural studies explores how Swing’s association with the past impacts its use in modern media.

6. Musicological Studies and Archival Research

Many musicologists and archivists have delved into Swing’s development through historical archives, transcriptions, and oral histories. These studies often focus on the preservation of original performances, manuscripts, and other primary source materials related to artists like Glenn Miller, Benny Goodman, and other big band leaders. These research efforts ensure that Swing music is not only understood in its historical context but also preserved for future generations.


Conclusion

The research and development of Swing music have involved a rich interplay of musical theory, cultural history, technological advancements, and sociological studies. As a genre, Swing’s influence on society and music has been far-reaching, and it continues to inspire artists and scholars alike. From its roots in early jazz to its modern reinterpretations, Swing music remains a powerful force in both the cultural and musical landscapes of the 20th and 21st centuries.

COURTESY : morrisjrs1965

References

  1. Jump up to:a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab ac ad ae af ag ah ai aj ak al am an ao ap aq ar as at au av aw ax ay az ba bb bc bd be bf bg bh bi Shenkle, Kathy, Glenn Miller: America’s Musical Patriot, US Army, Arlington National Cemetery, Arlington, Virginia, 1993 which includes information used for exhibits, news articles (Iowa, Colorado and military papers), and the ANC website. Retrieved September 11, 2022. The Army refers to Glenn Miller as having a finding of death (FOD) and having been missing in action (MIA) with remains not recoverable since December 15, 1944. “Glenn Miller”Arlingtoncemetery.milArchived from the original on September 23, 2015. Retrieved July 27, 2017.
  2. ^ “Glenn Miller’s Top 10 Hits”American Music Research Center. September 22, 2017. Archived from the original on October 25, 2022. Retrieved October 25, 2022.
  3. ^ Team, Retro Gazing (August 16, 2021). “What Is Glenn Miller’s Most Popular Song?”Retro Gazing. Archived from the original on October 25, 2022. Retrieved October 25, 2022.
  4. ^ “You Will Not Believe How Many Hits the Glenn Miller Orchestra Will Perform on Wednesday”Westmount at Three FountainsArchived from the original on October 25, 2022. Retrieved October 25, 2022.
  5. ^ “Song artist 11 – Glenn Miller”Tsort.infoArchived from the original on October 2, 2015. Retrieved July 27, 2017.
  6. ^ “The Billboard Music Popularity Chart – Week Ending January 2, 1942″. The Billboard54 (2): 12. January 10, 1942. Retrieved November 17, 2016.
  7. ^ “Achievements”Graceland.com. March 28, 2022. Archived from the original on March 24, 2022. Retrieved March 29, 2022.
  8. ^ Whitburn, Joel. Pop Memories (1900–1940). Record Research.
  9. ^ Whitburn, Joel (2015). Pop Hits Singles and Albums, 1940–1954. Record Research. ISBN 978-0-89820-198-7.
  10. ^ “Achievements: All About Elvis”. Archived from the original on September 12, 2011. Retrieved September 9, 2011.
  11. Jump up to:a b c d e Shenkle, Kathy. Legacy, Special Festival Extra, Clarinda Herald-Journal, Clarinda, Iowa. 1993–1994.
  12. ^ Shenkle, Kathy. Interviewed on Glenn Miller’s Birthday on WPFW-Radio by Askia Muhammad, Washington, D.C. March 1, 1995. https://afro.com/in-memoriam-renowned-black-journalist-broadcaster-askia-muhammad-dies/ Archived October 31, 2022, at the Wayback Machine
  13. Jump up to:a b “All Iowa, US, Births and Christenings Index, 1800–1999 results for Alton Glen Miller”Ancestry.comArchived from the original on September 27, 2022. Retrieved September 26, 2022.
  14. Jump up to:a b c d Leyden, Norman; Shenkle, Kathy (1994). “Major Glenn Miller Army Air Forces Orchestra Veterans Association Memorial Tree Request”. Major Glenn Miller Army Air Forces Orchestra Veterans Association. Portland, Oregon.
  15. ^ “US Air Forces in Europe Band”Archived from the original on September 29, 2022. Retrieved September 29, 2022.
  16. ^ “Glenn Miller”biography.com. September 3, 2020. Archived from the original on April 8, 2018. Retrieved April 8, 2018.
  17. ^ Shenkle, Kathy. Washington Historian Vacations at Glenn Miller Festival, Brings Own Exhibits. Clarinda, Iowa: Clarinda Herald-Journal, 1993, 1994
  18. Jump up to:a b War Department. “World War II Honor List of Dead and Missing Army and Army Air Forces Personnel from New Jersey, 1946, Bergen County, page 5, Alton G. Miller, Major”www.archives.govArchived from the original on September 23, 2022. Retrieved June 14, 2023.
  19. ^ “Tablets of the Missing list”Cambridge American Cemetery. January 1956. Archived from the original on October 31, 2022. Retrieved October 31, 2022.
  20. ^ Department of War, U.S. Army Air Forces, Finding of Death for those who were Missing in Action, World War II to 1946, Finding of Death (FOD) list includes Major Alton Glenn Miller, U.S. Army (Air Corps), listed as Alton G. Miller.
  21. ^ Army (and Air Force) Historian Kathy Shenkle Interview for On the Road with Charles Kuralt, CBS Sunday Morning, 1993
  22. ^ Shenkle, Kathy. Interview of Historian who attends Glenn Miller Festival in Clarinda. Des Moines Register, 1994
  23. Jump up to:a b Shenkle, Kathy. Exhibit:  Glenn Miller: America’s Musical Hero, US Army Center of Military History Archives, Fort McNair, DC, 1993.
  24. Jump up to:a b c d e Shenkle, Kathy. Glenn Miller: America’s Musical Hero, World War II Veterans article series, Pentagram, Department of Defense, Washington, DC, 1993.
  25. Jump up to:a b c “Glenn Miller History”. Glenn Miller Birthplace Society. Archived from the original on May 13, 2011. Retrieved March 8, 2011.
  26. Jump up to:a b c d e Miller, Glen / Glenn (ed.). Memories: 1919–1920; Memories: 1920–1921. Fort Morgan High School Library and Fort Morgan City Museum, Colorado: Fort Morgan High School.
  27. Jump up to:a b Miller, Alton Glen (Glenn) (ed.). Memories: 1919–1920, and Memories: 1920–1921. Fort Morgan, Colorado: Fort Morgan High School.
  28. Jump up to:a b c d e f g h i j k l m n o p q r s t Dennis M. Spragg, Glenn Miller Archives, Glenn Miller Collections, American Music Research Center, University of Colorado Boulder, designated guardian in perpetuity for the property of the Glenn Miller Estate; Historian and Life Member, Glenn Miller Birthplace Society, Clarinda, Iowa. Retrieved October 19, 2022. https://www.colorado.edu/amrc/glenn-miller-collections Archived September 25, 2022, at the Wayback Machine
  29. ^ Shenkle, Kathy, Historian, US Air Force, US Army, Arlington National Cemetery. ANC Memorials record and 1994 Historians Log Books stored at ANC in Arlington, Virginia, and at the Center of Military History, US Army, Washington, D.C. Retrieved October 19, 2022.
  30. Jump up to:a b Yanow, Scott (2001). Classic Jazz. San Francisco: Backbeat. ISBN 978-0879306595.
  31. ^ “Glenn Miller”www.cityoffortmorgan.comArchived from the original on November 7, 2017. Retrieved July 19, 2018.
  32. ^ “Famous Sigma Nu’s” Archived September 16, 2006, at the Wayback MachineOregonstate.edu. Retrieved on July 29, 2011.
  33. ^ “Who Is Joseph Schillinger?”The Schillinger System. Archived from the original on February 19, 2009. Retrieved February 19, 2009.
  34. ^ “Glenn Miller Biography”. Music.us. Archived from the original on May 12, 2013. Retrieved December 18, 2012.
  35. ^ Metronome, 1928, Vol. 44, p. 42.
  36. ^ “Benny Goodman’s Boys”www.redhotjazz.comArchived from the original on January 15, 2016. Retrieved July 19, 2018.
  37. ^ “History”www.glennmillerorchestra.seArchived from the original on July 19, 2018. Retrieved July 19, 2018.
  38. ^ Connor, D. Russell; Hicks, Warren W. (1969). BG on the Record: A Bio-discography of Benny Goodman (5 ed.). New Rochelle, N.Y.: Arlington House. ISBN 0-87000-059-4.
  39. ^ Shell, Niel; Shilkret, Barbara, eds. (2004). Nathaniel Shilkret: Sixty Years in the Music Business. Lanham, Maryland: Scarecrow. ISBN 0-8108-5128-8.
  40. ^ Stockdale, Robert L. “Tommy Dorsey on the Side”. Studies in Jazz19. Metuchen, New Jersey: Scarecrow.
  41. ^ “Red Mckenzie and his Mound City Blue Blowers”Red Hot Jazz. Archived from the original on August 5, 2011. Retrieved September 21, 2016.
  42. ^ Simon, George T. (1980). Glenn Miller and His Orchestra (1st paperback ed.). New York: Da Capo. p. 42. ISBN 0-306-80129-9.
  43. ^ Simon (1980) says in Glenn Miller and His Orchestra, on p. 42, when he asked Miller years later what recordings he made were his favorites, he specifically singled out the Mound City Blue Blowers sessions.
  44. ^ Twomey, John. “Who Was Glenn Miller?”. Jazzsight.com. Archived from the original on October 26, 2014. Retrieved May 31, 2009.
  45. Jump up to:a b c Simon (1980), pp. 65–66.
  46. ^ Simon (1980), p. 9.
  47. ^ “Annie’s Cousin Fanny” was recorded for Decca and Brunswick three times.
  48. Jump up to:a b “Dorsey Brothers Orchestra”Redhotjazz.com. Archived from the original on January 26, 2019. Retrieved July 27, 2017.
  49. ^ Simon, George T. (1980). Glenn Miller & His Orchestra. Da Capo Press. pp. 105–. ISBN 978-0-306-80129-7. Retrieved July 18, 2018.[permanent dead link]
  50. ^ Spink, George. “Music in the Miller Mood”. Archived from the original on February 11, 2010.
  51. ^ Simon (1980), p. 122.
  52. ^ Simon, George T. (1971). Simon Says: The Sights and Sounds of the Swing Era. New York: Galahad Books. p. 491. ISBN 0-88365-001-0.[permanent dead link]
  53. ^ Simon (1980), p. 143.
  54. ^ Twomey Archived October 26, 2014, at the Wayback Machine, Jazzsight.com. Retrieved on July 29, 2011.
  55. ^ Schuller, Gunther (1991). The swing era: the development of jazz, 1930–1945. New York: Oxford University Press. p. 667. ISBN 0-19-507140-9.
  56. ^ Simon (1980), p. 170.
  57. ^ “New King”Time. November 27, 1939. Archived from the original on July 12, 2007.
  58. ^ Glennmillerorchestra.com Archived November 28, 2007, at the Wayback Machine. Glennmillerorchestra.com. Retrieved on July 29, 2011.
  59. ^ Simon (1980), p. 91.
  60. ^ The entire output of Chesterfield-sponsored radio programs Glenn Miller did between 1939 and 1942 were recorded by the Glenn Miller organization on acetate discs.
  61. ^ Simon (1980), pp. 197, 314.
  62. ^ Miller, Glenn, A Legendary Performer, RCA, 1939/1991.
  63. ^ Murrells, Joseph (1978). The Book of Golden Discs (2nd ed.). London: Barrie and Jenkins Ltd. p. 4ISBN 0-214-20512-6.
  64. ^ “Band Bio” Archived December 24, 2015, at the Wayback MachineThe Modernaires (October 20, 2000). Retrieved on July 29, 2011.
  65. ^ “Marion Hutton, 67, Vocalist With Glenn Miller Orchestra”The New York Times. January 12, 1987. p. 1. Retrieved May 3, 2010.
  66. ^ Glenn Miller » Biography Archived December 1, 2008, at the Wayback MachineLegacy Recordings (copyright 2011). Retrieved on July 29, 2011.
  67. ^ “Ray Eberle” Archived September 25, 2011, at the Wayback MachineSolid!.
  68. ^ Kay Starr Biography Archived June 10, 2020, at the Wayback MachineMembers.tripod.com. Retrieved on July 29, 2011.
  69. ^ “Ernie Caceres”. Archived from the original on June 7, 2008. Retrieved June 5, 2008.
  70. ^ Solid! – Dorothy Claire Archived May 11, 2008, at the Wayback MachineParabrisas.com. Retrieved on July 29, 2011.
  71. ^ Liner notes to RCA Vi LPT 6701 Archived February 1, 2017, at the Wayback Machine, also see “Moonlight Serenade” by John Flower. (PDF). Retrieved on July 29, 2011.
  72. ^ King ?, Pete. “Lynn Bari’s Ghost Singer Pat Friday”. Big Band Buddies. p. 1. Archived from the original on September 7, 2008. Retrieved November 4, 2008.
  73. ^ Variety, September 16, 1942.
  74. ^ “Glenn Miller: ‘A Memorial, 1944–2004′” Archived February 12, 2018, at the Wayback MachineBig Band Library. Retrieved on July 29, 2011.
  75. ^ Simon (1980), p. 241.
  76. ^ For an example, see Time magazine from November 23, 1942. “U.S. jive epicures consider the jazz played by such famous name bands as Tommy Dorsey’s or Glenn Miller’s a low, commercial product”, Time, Music: “Jive for Epicures”. “Original article”. Archived from the original on October 14, 2010.
  77. ^ Zammarchi, Fabrice (2005). A Life in The Golden Age of Jazz: A Biography of Buddy De Franco. Seattle: Parkside. pp. 232–234. ISBN 0-9617266-6-0.
  78. ^ Albertson, Chris, Major Glenn Miller and the Army Air Forces Band, 1943–1944, Bluebird/RCA, 1987. Liner notes.
  79. ^ Another reference by Miller’s friend George T. Simon, states “[Miller] resented critics who focused almost entirely on his band’s jazz or lack of it. (Leonard Feather was a pet peeve)[…].” see Simon, The Sights and Sounds of the Big Band Era (1971), p. 275.
  80. ^ Mike Joyce (July 1, 1997). “Who’s overrated? Who’s Underrated? – The critics sound off”JazzTimes. Archived from the original on March 20, 2011. Retrieved July 30, 2023.
  81. ^ “Doug Ramsey–Doug’s Contributions”JazzTimes. September 1, 2008. Archived from the original on April 21, 2012. Retrieved July 30, 2023.
  82. ^ “Stride and Swing: The Enduring Appeal of Fats Waller and Glenn Miller”The New Yorker. 2004. Archived from the original on December 2, 2013. Retrieved March 19, 2020.
  83. ^ “Home”Arts on CampusArchived from the original on April 12, 2019. Retrieved April 12, 2019.
  84. Jump up to:a b Gary Giddins is a New York based jazz and film critic who has written for the Village Voice and the New York Sun. He won the National Book Critics Circle Award for Visions of Jazz: The First Century
  85. ^ “Biography – The Official Gary Giddins Website”Garygiddins.com. November 27, 2012. Archived from the original on August 5, 2017. Retrieved July 27, 2017.
  86. Jump up to:a b c d Schuller, pp. 662, 670, 677.
  87. ^ Armstrong, Louis. “Reel to Reel”. The Paris Review. Spring 2008: 63.
  88. ^ Zwerin, Mike (August 17, 1995). “George Shearing at 76:Still Holding His Own”International Herald TribuneArchived from the original on November 9, 2014. Retrieved November 8, 2014.
  89. ^ Keepnews, Peter (February 14, 2011). “George Shearing, ‘Lullaby of Birdland’ Jazz Virtuoso, Dies at 91”The New York TimesArchived from the original on May 24, 2017. Retrieved February 8, 2017. What [Shearing] was aiming for […] was ‘a full block sound, which, if it was scored for saxophones, would sound like the Glenn Miller sound. And coming at the end of the frenetic bebop era, the timing seemed to be right.’
  90. ^ Torme, Mel (1988). It Wasn’t All Velvet. New York: Penguin. pp. 42–44. ISBN 0-86051-571-0.
  91. ^ Simon (1971), p. 359.
  92. ^ “Frank Sinatra – The Columbia Years – 1947–1949”Jazzdiscography.comArchived from the original on November 6, 2018. Retrieved July 27, 2017.
  93. ^ “Frank Sinatra – Columbia II”JazzDiscography.comArchived from the original on March 17, 2017. Retrieved July 27, 2017.
  94. ^ “Buddy’s Bio”. Buddy DeFranco. Archived from the original on December 29, 2014. Retrieved November 8, 2014.
  95. ^ Zammarchi 238
  96. ^ DeFranco’s favorite Miller recordings are “Skylark” and “Indian Summer” see Zammarchi 237
  97. ^ Zammarchi 237
  98. ^ “The Draft and World War II”National World War II MuseumArchived from the original on October 29, 2022. Retrieved October 29, 2022.
  99. ^ “Deferments, “The Selective Training and Service Act of 1940” required all men between the ages of 21 and 45 to register for the draft. The Selective Service System defines the 3-A deferment as being for those “whose induction would result in hardship to persons who depend upon them for support.” Miller’s deferment fit in the 3-A category in several ways”Selective Service SystemArchived from the original on October 29, 2022. Retrieved October 29, 2022.
  100. Jump up to:a b c d e f g h i j k l m n o p q r s t Spragg, Dennis (2017). Glenn Miller Declassified. U of Nebraska Press. ISBN 978-1612348957.
  101. Jump up to:a b c “Glenn Miller Declassified, the definitive biography by Dennis M. Spragg”Dennismspragg.comArchived from the original on September 29, 2021. Retrieved September 29, 2021.
  102. ^ National Archives and Records Administration (NARA), Washington, DC (RG 342-USAF-49520 (film), NARA; Eighth Air Force, 520.071, A5835, Air Force Historical Research Agency – AFHRA, Maxwell Air Force Base, Alabama)
  103. Jump up to:a b Shenkle, Kathy (1993). “Glenn Miller: America’s Musical Patriot, US Army, Arlington National Cemetery, Arlington, Virginia, 1993. Longer versions of this exhibit appeared on CBS Sunday Morning TV, WPFW radio, Clarinda Herald-Journal, Pentagram (DOD), and the Des Moines Register”militaryhonors.sid-hill.us/honors/hon-10b.htmArchived from the original on September 27, 2022. Retrieved September 27, 2022.
  104. Jump up to:a b c d e f g h “Clarinda benefits from efforts of Glenn Miller Birthplace Society”, Clarinda Herald-Journal: Clarinda, Iowa, November 6, 2008. Retrieved October 31, 2022.
  105. ^ “Team to probe Glenn Miller ‘crash site'”BBC News. January 14, 2019. Archived from the original on January 15, 2019. Retrieved January 15, 2019.
  106. ^ “Revealed: What really happened when Glenn Miller disappeared in 1944”College of Music. July 8, 2014. Archived from the original on May 6, 2019. Retrieved May 6, 2019.
  107. ^ Simon (1980), pp. 437–439.
  108. ^ Butcher, p. 262.
  109. ^ Henry Mancini at All About Jazz Archived March 31, 2008, at the Wayback MachineAllaboutjazz.com. Retrieved on July 29, 2011.
  110. ^ Simon (1980), p. 258.
  111. ^ “Developer Buying Hollywood Palladium”Yehoodi.com. Retrieved July 29, 2011.
  112. Jump up to:a b Butcher, page 263
  113. ^ Simon (1980), p. 439.
  114. ^ George Simon (1980) in Glenn Miller and His Orchestra, p. 439, says it happened in December 1950.
  115. ^ “Former Leaders”. Glennmillerorchestra.com. Archived from the original on November 15, 2011. Retrieved April 16, 2012.
  116. ^ “Tex Beneke”. Glennmillerorchestra.com. Archived from the original on March 28, 2017. Retrieved March 26, 2017.
  117. ^ Solid!, Bob Chester biography/filmography Archived February 8, 2007, at the Wayback MachineParabrisas.com (March 20, 1908). Retrieved on July 29, 2011.
  118. ^ Ralph Flanagan Archived February 2, 2007, at the Wayback MachineBigbandlibrary.com. Retrieved on July 29, 2011.
  119. ^ “Jerry Gray” Archived May 13, 2017, at the Wayback MachineBigbandlibrary.com. Retrieved on July 29, 2011.
  120. ^ Solid!, Ray Anthony biography/filmography Archived December 14, 2006, at the Wayback MachineParabrisas.com (January 20, 1922). Retrieved on July 29, 2011.
  121. ^ “Devon Theatre – Review – Glenn Miller Orchestra at Plymouth Pavilions”BBC NewsArchived from the original on September 7, 2013. Retrieved July 29, 2011.
  122. ^ Glenn Miller Orchestra :: Portrait Wil Salden Archived February 10, 2008, at the Wayback MachineGlenn-miller.de (October 20, 2010). Retrieved on July 29, 2011.
  123. ^ “Orchestra Portrait”Glennmillerorchestra.seArchived from the original on September 8, 2017. Retrieved July 27, 2017.
  124. Jump up to:a b c US Air Force Bands (October 27, 2022). “The Airmen of Note”US Air Force BandArchived from the original on November 28, 2022. Retrieved October 27, 2022.
  125. ^ “US Air Forces in Europe Band”www.music.af.milArchived from the original on April 12, 2019. Retrieved April 12, 2019.
  126. ^ “Yale Bands 1940s Holiday Re-Enactment: Glenn Miller’s Army Air Force Band 1944 Radio Show and 1940s All-Women Big Band”Yale News. December 10, 2019. Archived from the original on October 27, 2022. Retrieved October 27, 2022.
  127. ^ “Yale Bands celebrates three anniversaries at its final concert of 2019”Yale University News. December 2, 2019. Archived from the original on October 27, 2022. Retrieved October 27, 2022.
  128. ^ Polic, Edward F.  The Glenn Miller Army Air Force Band: Sustineo Alas / I Sustain the Wings.  Metuchen, N.J.: [New Brunswick, N.J.]:  Scarecrow Press; Institute of Jazz Studies, Rutgers University. 1989.  ISBN 978-0810822696.
  129. ^ In June 2009, it was announced that the Glenn Miller Birthplace Society in Clarinda, Iowa, was building a 5,600-foot museum to house “memorabilia from [Glenn Miller’s] musical career”. The museum in Glenn Miller’s birthplace has been in the works since 1990, according to the USA Today article Archived June 4, 2011, at the Wayback Machine.
  130. ^ “Big Bands Database Plus” Archived February 11, 2007, at the Wayback MachineNfo.net. Retrieved on July 29, 2011.
  131. ^ “John Miller Orchestra Home”. Archived from the original on August 20, 2007. Retrieved August 27, 2007.
  132. ^ “The Glenn Miller Story”. January 17, 2012. Archived from the original on January 17, 2012. Retrieved September 29, 2021.
  133. ^ “Glenn Miller Swing Fest | June 7–9”KUVO. June 5, 2018. Archived from the original on February 6, 2024. Retrieved February 6, 2024.
  134. ^ “Festival”glennmiller1Archived from the original on February 6, 2024. Retrieved February 6, 2024.
  135. ^ “Glenn Miller Birthplace Society”Glennmiller.orgArchived from the original on June 23, 2017. Retrieved July 27, 2017.
  136. ^ Artist: Bill Nelson, Art director: Howard E. Paine. “Art of the Stamp – Big Band Leaders: Glenn Miller, First day of issue: September 11, 1996”Smithsonian Institution’s National Postal MuseumArchived from the original on October 31, 2022. Retrieved October 31, 2022.
  137. ^ “The School for the Performing Arts”. The School for the Performing Arts. Archived from the original on July 24, 2017. Retrieved July 27, 2017.
  138. ^ “Glenn Miller Archive”. University of Colorado. Archived from the original on July 13, 2012.
  139. ^ “CU Boulder remembers remarkable, longtime campus fixture Alan Cass”, CU Boulder Today, University of Colorado Boulder: Boulder, CO. Retrieved October 31, 2022.
  140. ^ “CU-Boulder’s Glenn Miller Archive Receives Major Gift Including Seldom-Heard Music” Archived June 5, 2011, at the Wayback MachineUniversity of Colorado at Boulder (May 1, 2007). Retrieved on July 29, 2011.
  141. ^ “Glenn Miller” Archived October 19, 2008, at the Wayback MachineTwinwoodevents.com (August 30, 2010). Retrieved on July 29, 2011.
  142. ^ “MEMORIAL TREES AT ARLINGTON NATIONAL CEMETERY | TREE #78, Section 13: Army Air Forces Orchestra (Glenn Miller) – American Holly” (PDF). Archived from the original (PDF) on October 28, 2022.
  143. ^ Papazian, Rita (January 31, 1999). “Glenn Miller’s New Haven Connection”The New York TimesArchived from the original on November 9, 2014. Retrieved November 8, 2014.
  144. ^ Papazian, Rita (January 31, 1999). “”Glenn Miller’s New Haven Connection””The New York Times. p. 14. Archived from the original on April 6, 2023. Retrieved October 19, 2022.
  145. ^ “Hollywood Star Walk-Glenn Miller”Los Angeles TimesArchived from the original on October 21, 2014. Retrieved November 8, 2014.
  146. ^ “Jerry Gray” Archived May 13, 2017, at the Wayback MachineBig Band Library. Retrieved on July 29, 2011.
  147. ^ “Song: In The Mood” Archived June 12, 2018, at the Wayback MachineShapiroBernstein.com.
  148. ^ “Eddie Durham” Archived July 11, 2007, at the Wayback MachineSony BMG. Retrieved on July 29, 2011.
  149. ^ “Co-Composers” Archived July 8, 2011, at the Wayback MachineBuddyFeyne.com.
  150. ^ “Jerry Gray “A String of Pearls””. Big Band Library. Archived from the original on May 13, 2017. Retrieved December 18, 2012.
  151. ^ All About Jazz. “Bill Finegan Arranger for Dorsey, Miller Bands Dies”. Allaboutjazz.com. Archived from the original on December 24, 2008. Retrieved December 18, 2012.
  152. ^ Augustand, Melissa (February 2, 2004). Died. Billy May, 87Time. Archived from the original on January 15, 2009.
  153. ^ “George Williams, Musical Arranger, 71”The New York Times. April 21, 1988. Archived from the original on October 11, 2016. Retrieved September 21, 2016.
  154. ^ Gottlieb, Jeff (January 8, 2000). “Vic Schoen, Musician and Composer, Dies at 83”Los Angeles TimesArchived from the original on September 7, 2017. Retrieved March 19, 2020.
  155. ^ “PBS – Jazz A Film By Ken Burns: Selected Artist Biography – Glenn Miller”PBSArchived from the original on October 26, 2014. Retrieved November 8, 2014.
  156. ^ Shenkle, Kathy (1993). “Glenn Miller: America’s Musical Patriot”Archived from the original on September 27, 2022. Retrieved September 27, 2022.
  157. ^ “GRAMMY.com”Grammy.com. Archived from the original on July 7, 2015. Retrieved September 29, 2021.
Translate »