"They Cert'ly Sound Good to Me": Sheet Music, Southern Vaudeville, and the Commercial Ascendancy of the Blues

  title={"They Cert'ly Sound Good to Me": Sheet Music, Southern Vaudeville, and the Commercial Ascendancy of the Blues},
  author={Lynn Abbott and Doug Seroff},
  journal={American Music},
19 Citations

Figures from this paper

How Blue Can You Get? "It's Tight Like That" and the Hokum Blues
Thomas a. Dorsey, the “father of black gospel music,” was interviewed numerous times in 1960 and 1970s, when gospel music became a subject of serious inquiry. While he was asked about his sacredExpand
The Notational Template: Langston Hughes’ Ask Your Mama: 12 Moods for Jazz and the “Hesitation Blues”
The first chapter examines Langston Hughes’ Ask Your Mama: 12 Moods for Jazz, which uses the template of the 12-bar “Hesitation Blues” as a structure for the entire poem. Published in 1961, Ask YourExpand
Today's Sounds for Yesterday's Films : Making Music for Silent Cinema
Music is a vital instrument in attracting new audiences to silent cinema as well as renewing the interest of an already-initiated public. In this collection, chapters by practitioners as well asExpand
Blues music theory and the songs of Robert Johnson: ladder, level and chromatic cycle
Abstract The blues is a complex and subtle musical language that warrants careful analysis and sustained debate. There are legitimate concerns with the application of music-theoretical paradigms toExpand
Music Physicianers: Blues Lyric Form and the Patent Medicine Show
Patent medicine shows became popular in the United States around the turn of the twentieth century by selling their products alongside free musical and theatrical entertainments. The “doctors”Expand
From Harmonic Style to Genre: The Early History (1890s–1940s) of the Uniquely American Musical Term Barbershop
For many decades, the genre of four-part a cappella singing called “barbershop” was a field of virtually no academic importance. In recent years, however, an increasing interest in its history andExpand


liner notes to Clifford Hayes and the Louisville Jug Bands: Volume 1 (1924-1926)
  • RST Records JPCD-1501-2,
  • 1994
'Brown Skin, Who You For?' Another Look at Clarence Williams's Early Career,
  • The Jazz Archivist
  • 1993
Seroff, "Lizzie Miles: Her Forgotten Career in Circus Side-Show Minstrelsy
  • 1992
City Vaudeville Classic Blues: Locale and Venue in Early Blues," in Ethnomusicology in Canada, ed
  • 1990
Ragtime Rarities (New York: Dover, 1975); idem, Ragtime Rediscoveries (New York: Dover, 1978); and David Lee Joyner, "Southern Ragtime and Its Transition to Published Blues" (Ph.D
  • 1986
Nigger Blues," Columbia A-2064
  • This content downloaded from on Thu,
  • 1978
The Complete Entertainment Discography (New Rochelle
  • Arlington House,
  • 1973
The Heart of the Blues," Etude, Mar
  • Eileen Southern, ed., Readings in Black American Music (New York: Norton,
  • 1971
Frontiers of Humor: American Vernacular Dance,
  • Southern Folklore Quarterly 30,
  • 1966