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Tin Pan Alley’s Legacy

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Tin Pan Alley’s Legacy
Various reasons can be deduced to explain why the music by Tin Pan Alley lasted an unusually long period. One of the main reasons is the highly relatable lyrics and the structure. A Significant feature of Tin Pan Alley’s music is that the composers concentrated on writing romantic lines. They wrote about personal experiences with love, experiences that an ordinary person can relate with. This is the reason why the public still remembers Tin Pan Alley’s pieces (Rasmussen 154). Also, the music of Tin Pan Alley has endured its popularity due to the historical significance of the group in the shaping of the music industry in America. For instance, a section of Tin Pan Alley music houses pulled resources together to lobby for the federal administration in support of the copyright bill. In addition to that, the group teamed up with the state to compose a war song that would inspire the American’s confidence during WorldWarII.
I enjoy the performance of Tin Pan Alley music by performers of the Tin Pan Alley period more than present-day performance. My perception is that performers during their period understood what the music at that time stood for. Furthermore, they can relate well to the songs, and they know how to in-cooperate ancient instruments in their performances. Present day performers are changing a lot of things. First, Pan Alley music has a lot of historical significance that the current crop of performers cannot relate with.

Wait! Tin Pan Alley’s Legacy paper is just an example!

This is a group that composed war songs that motivated the growth of confidence in the American soldiers. Many performers nowadays are not concerned with the significance of the group’s efforts, but to entertain people while on the stage. Moreover, the in cooperation of modern instruments and sound in present-day performance has made the Tin Pan Alley music to lose its taste.
Work Cited
Rasmussen, Anne K. “Music, Sound, and Technology in America: A Documentary History of Early Phonograph, Cinema, and Radio.” (2017): 153-156.

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