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Ever since antiquity, music transcription has been the intrinsic way of visual representation of sound, sometimes in detail and sometimes in the form of a guide. Throughout time, the visual capture of music has been the only way to store and preserve it over time, but also the exclusive means of reproducing it. In any case, visual transfer should be considered as an auxiliary tool, since oral dissemination and storage in the memory of artists have been the most timeless techniques for the diffusion of music through time and space. During Europe's so-called "classical" musical period, with its most powerful centers of production, such as today's Austria, Germany, France and Italy, and especially in its path towards Romanticism, music transcription, that is, the musical score, was considered by some composers as the very embodiment of their work.
Understandably, in the modern capitalist world, music transcription, as the primary tool for the substantialization of music, brought under its purview repertoires that were not connected, were not disseminated, and did not function on the basis of their transcription. This offered to the music product sales centers an additional tool to expand their action network: non-scholar musics acquired a convenient way of circulating them, enhancing their popularity, even in places very far from those of their original creation. At the end of the 19th century, however, the phenomenon of sound recording and reproduction rearranged relationships and disrupted the status quo of publishing houses, claiming a share of the market, offering a product that was extremely complete and immediate. The publishing houses tried to react with legal measures, but it became impossible to stop the dynamics of the new phenomenon: the prevalence of commercial discography was now a fact, for most of the 20th century.
As far as non-scholar music is concerned, commercial printed musical scores were publications of the musical texts of songs or instrumental pieces (for the publishing activity in Greece see Lerch-Kalavrytinos, 2003: 4-5). For the needs of musical scores, the songs were arranged mainly (but not only) for piano or for piano and voice, generally without complex performance requirements. Multi-instrumental or technically demanding orchestrations were systematically avoided. The lyrics were printed below the notes of the melodic development of the singing parts and, sometimes, their translations into other languages. For the most part, the musical scores were two or four pages long, and came with a themed front and back cover.
This four-page musical score contains the solo piano version of the French song "Mon homme", set to music by Maurice Yvain and lyrics by Jacques-Charles (Jacques Mardochée Charles) and Albert Willemetz. It comes from the French revue "Paris qui Jazz", which started its performances at the Casino de Paris on October 6, 1920.
On the color cover, which features a black and white photo of Photo Delphi depicting the protagonists of the revue Mistinguett and Harry Pilcer, the song's title reads "La musique qui fait sensation dans la revue Paris qui Jazz présentée au Casino de Paris par M. Leon Volterra" (The music that caused a sensation in the revue Paris qui Jazz revue presented at the Casino de Paris by Mr. Leon Volterra), "Le succès de Mistinguett et Harry Pilcer" (The success of Mistinguett and Harry Pilcer), the names of the composer and lyricists, the genre description "Schottisch espagnole" and the publisher. The monochrome back cover includes an advertising listing for musical scores from the publisher.
The musical text (pages 2-3) consists of a system of two staffs for piano. The monochrome back cover includes an advertising listing for musical scores from the publisher.
The song "Mon homme" is also found in Greek-speaking discography, characteristically outlining the dialectical, multi-layered relationship between the various "national" repertoires, the subject of the ongoing research "Cosmopolitanism in Greek Historical Discography".
For more about the song and its recordings in the Greek repertoire, see here.
Research and text: Leonardos Kounadis and Nikos Ordoulidis
Ever since antiquity, music transcription has been the intrinsic way of visual representation of sound, sometimes in detail and sometimes in the form of a guide. Throughout time, the visual capture of music has been the only way to store and preserve it over time, but also the exclusive means of reproducing it. In any case, visual transfer should be considered as an auxiliary tool, since oral dissemination and storage in the memory of artists have been the most timeless techniques for the diffusion of music through time and space. During Europe's so-called "classical" musical period, with its most powerful centers of production, such as today's Austria, Germany, France and Italy, and especially in its path towards Romanticism, music transcription, that is, the musical score, was considered by some composers as the very embodiment of their work.
Understandably, in the modern capitalist world, music transcription, as the primary tool for the substantialization of music, brought under its purview repertoires that were not connected, were not disseminated, and did not function on the basis of their transcription. This offered to the music product sales centers an additional tool to expand their action network: non-scholar musics acquired a convenient way of circulating them, enhancing their popularity, even in places very far from those of their original creation. At the end of the 19th century, however, the phenomenon of sound recording and reproduction rearranged relationships and disrupted the status quo of publishing houses, claiming a share of the market, offering a product that was extremely complete and immediate. The publishing houses tried to react with legal measures, but it became impossible to stop the dynamics of the new phenomenon: the prevalence of commercial discography was now a fact, for most of the 20th century.
As far as non-scholar music is concerned, commercial printed musical scores were publications of the musical texts of songs or instrumental pieces (for the publishing activity in Greece see Lerch-Kalavrytinos, 2003: 4-5). For the needs of musical scores, the songs were arranged mainly (but not only) for piano or for piano and voice, generally without complex performance requirements. Multi-instrumental or technically demanding orchestrations were systematically avoided. The lyrics were printed below the notes of the melodic development of the singing parts and, sometimes, their translations into other languages. For the most part, the musical scores were two or four pages long, and came with a themed front and back cover.
This four-page musical score contains the solo piano version of the French song "Mon homme", set to music by Maurice Yvain and lyrics by Jacques-Charles (Jacques Mardochée Charles) and Albert Willemetz. It comes from the French revue "Paris qui Jazz", which started its performances at the Casino de Paris on October 6, 1920.
On the color cover, which features a black and white photo of Photo Delphi depicting the protagonists of the revue Mistinguett and Harry Pilcer, the song's title reads "La musique qui fait sensation dans la revue Paris qui Jazz présentée au Casino de Paris par M. Leon Volterra" (The music that caused a sensation in the revue Paris qui Jazz revue presented at the Casino de Paris by Mr. Leon Volterra), "Le succès de Mistinguett et Harry Pilcer" (The success of Mistinguett and Harry Pilcer), the names of the composer and lyricists, the genre description "Schottisch espagnole" and the publisher. The monochrome back cover includes an advertising listing for musical scores from the publisher.
The musical text (pages 2-3) consists of a system of two staffs for piano. The monochrome back cover includes an advertising listing for musical scores from the publisher.
The song "Mon homme" is also found in Greek-speaking discography, characteristically outlining the dialectical, multi-layered relationship between the various "national" repertoires, the subject of the ongoing research "Cosmopolitanism in Greek Historical Discography".
For more about the song and its recordings in the Greek repertoire, see here.
Research and text: Leonardos Kounadis and Nikos Ordoulidis
© 2019 KOUNADIS ARCHIVE
