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In 1920, the jazz age was underway and was indirectly fueled by prohibition of alcohol. [5] In Chicago, the jazz scene was developing rapidly, aided by the immigration of over 40 prominent New Orleans jazzmen to the city, continuous throughout much of the 1920s, including The New Orleans Rhythm Kings who began playing at Friar's Inn. [5]
The Roaring Twenties, sometimes stylized as Roaring '20s, refers to the 1920s decade in music and fashion, as it happened in Western society and Western culture.
January 19 – The Salzburg Festival is revived. [1]September 4 – City of Birmingham Orchestra (England) first rehearses (in a city police bandroom). Later this month, its first concert, conducted by Appleby Matthews, opens with Granville Bantock's overture Saul; in November it gives its "First Symphony Concert" when Edward Elgar conducts a programme of his own music in Birmingham Town Hall.
The most recorded 1920s standard is Hoagy Carmichael and Mitchell Parish's "Stardust". [6] Several songs written by Broadway composers in the 1920s have become standards, such as George and Ira Gershwin's "The Man I Love" (1924), Irving Berlin's "Blue Skies" (1927) and Cole Porter's "What Is This Thing Called Love?" (1929). However, it was not ...
18 September – A Night Out, with a book by George Grossmith, Jr. and Arthur Miller, music by Willie Redstone and Cole Porter and lyrics by Clifford Grey, opens at the Winter Garden Theatre in London, where it runs for 309 performances. The original cast includes Leslie Henson and Stanley Holloway.
Pages in category "1920s in music" The following 6 pages are in this category, out of 6 total. This list may not reflect recent changes. 0–9. 1920s in jazz; C.
Pages in category "1920s songs" The following 14 pages are in this category, out of 14 total. This list may not reflect recent changes. A.
“One can plausibly argue that the debate over jazz was just one of many that characterized American social discourse in the 1920s” (Ogren 3). In 1919, jazz was being described to white people as “a music originating about the turn of the twentieth century in New Orleans that featured wind instruments exploiting new timbres and performance techniques and improvisation” (Murchison 97).
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