These shows were an effective showcase for new music. Tin Pan Alley is the name given to the collection of New York City music publishers and songwriters who dominated the popular music of the United States in the late 19th century and early 20th century. Song composers were hired under contract giving the publisher exclusive rights to popular composer’s works. Tin Pan Alley refers to a style of music, a way of doing business, and an area located in New York City All of the following characterized mainstream popular music in the early 1950s, EXCEPT The termm ‘Tin Pan Alley’ refers to the physical location of the New York City-centered music publishers and songwriters who dominated the popular music of the United States in the late 19th century and early 20th century. Composers associated with Tin Pan Alley were Irving Berlin, Cole Porter, Jerome Kern, George Gershwin, Harold Arlen, Charles Harris, Arthur Lamb, and Harry Warren. . It also had an established distribution network for the United States. Perhaps you know that the name often refers to the collection of New York City music publishers and songwriters who dominated American popular music in the late 19th century and early 20th century.

Special thanks to Rick Reublin of the website Parlor Songs for historical insight. Portions Edited and expanded from Wikipedia During this period, the new generation of entrepreneurial music publishers grew and flourished. Charles K. Harris’s ‘After The Ball’ (1892) sold over five million copies. While he was staying in New York, he coined the term to articulate the cacophony of dozens of pianos being pounded at once in publisher’s demo rooms. In 1931 The 11 story, 175,000 square foot Brill Building was built as an office structure located at 1619 Broadway in New York City, just north of Times Square. Songwriters who became established producers of commercially successful songs were hired to be on the staff of the music houses. These tunes were called “Race Music”, the euphemism for songs written by black artists. Music publishing, however, still had an important and profitable role in finding, creating, marketing and selling the American popular song. Much of the public in the late 1910s and the 1920s did not know the difference between these commercial products and authentic jazz and blues. Top selling songs on the (white) Hit Parade, such as Tuxedo Junction and Jersey Bounce, were originally composed as instrumentals by black swing artists, but were not played by white bands on the radio until they had been published with lyrics, often by white writers.

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