When our cock crowed (or crew) this morning at 5 a.m., it really sounded like old Bertie was saying Pop-a-doodle-doo and, as soon as I heard it, I said, "That's it! That's the title for my next chapter!" and I yelled "POP-A-DOODLE-DOO!" at the top of my voice in an expression of exultation. Unfortunately, it did not exult either the Maestro or Lucetta, who have been subsequently quite testy so I'm writing this chapter in the quiet solitude of the OLD outhouse the one we no longer use since we got indoor plumbing. The smell is still a bit off but at least there's no attitude here.
We have already discussed the GRAND CANYON SPLIT that occurred between the COMPOSER OF SERIOUS MUSIC and THE GENERAL PUBLIC. But there is a much more massive bifurcation that happened that has deeply affected the music of our century. Let me tell you about it. It involves more SPLITS and A GROWTH. (For those of you who are medically oriented, please do not take the wrong implication here and assume that it refers to a personal and embarrassing malady from which yours truly suffers. Those hurtful hurled epithets are becoming tiresome, particularly from you, Irvin Tornquist. Attack my music, if you will, but leave my boils alone!)
In order to look at the topic of this current chapter, which, if I've been the least bit successful has entirely evaded you, we need charts, maps and historical diagrams.
Prior to 1900, Music was divided into Two Basic Categories:
POPULAR MUSIC
SERIOUS MUSIC (a.k.a. classical music)
it's always been there, listened to by ordinary folk in bars and barns, at dances and wakes,
born in courts and cathedrals for Popes, Kings, Queen & Earls and latterly by the rising middle classes.
the music of the common people enjoyed but generally not written down insignificant and considered unworthy and insignificant.
