C.S. Lewis "On Church Music"

I recently came across this essay by C. S. Lewis entitled On Church Music from the book Christian Reflections. It does not need much introduction as C. S. Lewis has been a voice in faith community for decades. Yet, I have never read his views on music in the church. I found it insightful and apropos, especially being several decades old, they remain relevant today…you decide.

Musical Taste “There are two musical situations on which I think we can be confident that a blessing rests. One is where a priest or an organist, himself a man of trained and delicate taste, humbly and charitably sacrifices his own (aesthetically right) desires and gives the people humbler and coarser fare than he would wish, in a belief (even, as it may be, the erroneous belief) that he can thus bring them to God. The other is where the stupid and unmusical layman humbly and patiently, and above all silently, listens to music which he cannot, or cannot fully, appreciate, in the belief that it somehow glorifies God, and that if it does not edify him this must be his own defect. Neither such a High Brow nor such a Low Brow can be far out of the way. To both, Church Music will have been a means of grace; not the music they have liked, but the music they have disliked. They have both offered, sacrificed, their taste in the fullest sense. But where the opposite situation arises, where the musician is filled with the pride of skill or the virus of emulation and looks with contempt on the unappreciative congregation, or where the unmusical, complacently entrenched in their own ignorance and conservatism, look with the restless and resentful hostility of an inferiority complex on all who would try to improve their taste – there, we may be sure, all that both offer is unblessed and the spirit that moves them is not the Holy Ghost.”

Musical Intention – “It seems to me that we must define rather carefully the way, or ways, in which music can glorify God. There is … a sense in which all natural agents, even inanimate ones, glorify God continually by revealing the powers He has given them. And in that sense we, as natural agents, do the same. On that level our wicked actions, in so far as they exhibit our skill and strength, may be said to glorify Good, as well as our good actions. An excellently performed piece of music, as natural operation which reveals in a very high degree the peculiar powers given to man, will thus always glorify God whatever the intention of the performers may be. But that is a kind of glorifying which we share with the ‘dragons and great deeps’, with the ‘frost and snows’. What is looked for in us, as men, is another kind of glorifying, which depends on intention. How easy or how hard it may be for a whole choir to preserve that intention through all the discussions and decisions, all the corrections and the disappointments, all the temptations to pride, rivalry and ambition, which precede the performance of a great work, I (naturally) do not know. But it is on the intention that all depends. When it succeeds, I think the performers are the most enviable of men; privileged while mortals to honor God like angels and, for a few golden moments, to see spirit and flesh, delight and labour, skill and worship, the natural and the supernatural, all fused into that unity they would have had before the Fall.”

... from an essay entitled “On Church Music” by C. S. Lewis. It can be found in a current publication called Christian Reflections published by Wm. B. Eerdmans Publishing Co.

Sacred Music in Public Education

In light of the events of September 11, 2001, academic freedom and free speech in higher education has not been under such scrutiny since WWII and the McCarthy era. Because of this renewed zeal, institutions of higher education are in the process of evaluating the need for policies regarding exclusivity at the expense of academic freedom. ACDA and MENC have had long standing guidelines regarding this issue. However, only recently have administrators in institutions of higher education focused on their usage. What should be of interest to arts faculty are policies regarding all sacred art.

There is no precedence for the creation of policies regarding the use of sacred music and where choral groups in public institutions of higher education perform it. There are very few institutions with such policies. In fact, those that have such policies are denominationally affiliated institutions, whose primary concern is with the usage of secular music. Any policy would be a violation of ones right as an academic, in terms of a policy pertaining to the selection and performance of any kind of music, be it secular or sacred, and where it is performed as part of ones total choral educational experience.

In terms of performing groups singing in worship settings, there are no rulings on such. In fact, the Supreme Court has allowed some entanglement between church and state, as long as this entanglement is not "excessive.” Being invited, while touring to a local church on occasion could not be construed as “excessive entanglement.” Choral groups from institutions of higher education tour and sing in sacred spaces in the US and worldwide as a part of their educational experience.

While touring, groups may perform a Haydn Mass or select movements in a Roman Catholic cathedral in Vienna as a part of a choral mass. A set of spirituals could be sung in a Pentecostal setting. An Orthodox chant or a sacred Slavic choral work would be part of a service in an Orthodox setting. Likewise, one would not program a secular madrigal to be sung during mass at Washington’s National Cathedral. Additionally, being invited to perform at the local community churches does not constitute excessive entanglement, but rather good public relations. These experiences will provide students a glimpse into the historical usage of sacred choral music.

From the document "Music with Sacred Texts" published by the Music Educators National Conference (MENC) states:

The First Amendment does not forbid all mention of religion in the public schools; it prohibits the advancement or inhibition of religion by the state. A second clause in the First Amendment prohibits the infringement of religious beliefs. The public schools are not required to delete from the curriculum all materials that may offend any religious sensitivity.

The Supreme Court States:

Widmar v. Vincent (1981), involving freedom of speech, suggest that in the court's opinion, college and university students have the maturity to understand the religiously neutral role that public schools must play in dealing with the subject of religion, where younger students may not. Therefore, college teachers may not be required to emphasize this neutrality so much.

Widely applied, the Lemon testformulated by Chief Justice Warren Burger, to situations that may seem excessive, in the majority opinion in rendering a ruling for Rhode Island and Pennsylvania programs that supplemented the salaries of teachers in religiously based, private schools for the teaching of secular subjects (1971). The purpose of the Lemon test is to determine when a law has the effect of establishing religion. The test has served as the foundation for many of the Court's post-1971 establishment clause rulings. As articulated by Chief Justice Burger, the test has three parts:

1. First, the statute must have a secular legislative purpose.

2. Second, its principal or primary effect must be one that neither advances nor inhibits religion.

3. Finally, the statute must not foster "an excessive government entanglement with religion."

In order to ensure that any music class or program is conforming to the constitutional standards of religious neutrality necessary in public schools, the Music Educators National Conference (MENC) devised the following questions based on the Lemon test ruling:

1. What is the purpose of the activity? Is the purpose secular in nature, that is, studying music of a particular composer's style or historical period?

2. What is the primary effect of the activity? Is it the celebration of religion? Does the activity either enhance or inhibit religion? Does it invite confusion of thought or family objections?

3. Does the activity involve excessive entanglement with a religion or religious group, or between the schools and religious organizations? Financial support can, in certain cases, be considered an entanglement.

According to separatist scholars Barry Lynn, Marc Stern, and Oliver Thomas, the fact that a law may have a "religious purpose or be motivated by religion does not mean it is unconstitutional as long as it also has a bona fide secular or civic purpose.” Similarly, "a law that has a remote or incidental effect of advancing religion is not unconstitutional as long as the effect is not a 'primary' effect.”

Finally, the Court has allowed some entanglement between church and state, as long as this entanglement is not "excessive.” Hence, the Court has built some leeway into the test so as not to invalidate laws that have only remote connections to religious practice. This is not, in other words, the work of a Court that was hostile to religion. On the contrary, Justice Burger, a Nixon appointee, is generally reckoned as a conservative on social issues.[1]

Having guidelines for the selection of repertoire in higher education is an issue of academic freedom, not Amendment law. Just as an English professor chooses their literature, so the choral professor should have freedom to choose their literature. Accrediting agencies are very clear on this issue. All require a policy on academic freedom. All accredited institutions of higher education have a policy on academic freedom, thusly any guidelines for the selection of texts/musical scores would supercede said policy and open the door to a further deterioration of academic freedom on the campuses of public institutions, and create an “unwarranted inhibition upon the free spirit of teachers . . . [will] chill that free play of the spirit which all teachers ought especially to cultivate and practice. . . [it may lead to] caution and timidity.”[2]


According to the opinion by Chief Justice Earl Warren:

The essentiality of freedom in the community of American universities is almost self-evident. No one should underestimate the vital role in a democracy that is played by those who guide and train our youth. To impose any strait jacket upon the intellectual leaders in our colleges and universities would imperil the future of our Nation. Scholarship cannot flourish in an atmosphere of suspicion and distrust. Teachers and students must always remain free to inquire, to study and to evaluate, to gain new maturity and understanding; otherwise our civilization will stagnate and die.[3]

In Keyishian v. Board of Regents, the court ruled in favor of State University of New York faculty who had challenged such laws. More important, however, the court expressly linked the notion of academic freedom to the guarantee of free speech under the First Amendment to the US Constitution.

Writing for the majority, Justice Brennan stated:

Our Nation is deeply committed to safeguarding academic freedom, which is of transcendent value to all of us and not merely to the teachers concerned. That freedom is therefore a special concern of the First Amendment, which does not tolerate laws that cast a pall of orthodoxy over the classroom.[4]

Additionally, Justice Tom Clark, in 1963 wrote for the majority:

…what are the purposes and primary effect of the enactment. If either is the advancement or inhibition of religion then the enactment exceeds the scope of legislative power as circumscribed by the Constitution. That is to say that to withstand the structures of the Establishment Clause there must be a secular legislative purpose and a primary effect that neither advances nor inhibits religion. To violate the Free Exercise Clause, it is only necessary to show a coercive effect of a law's enactment. That these might merely be "minor encroachments on the First Amendment" is irrelevant. The Court does not disallow the comparative study of religion in public schools…[5}

Performing sacred music occasionally in worship settings does not constitute “excessive entanglement,” just as performing selections from a Broadway musical would be appropriate in an auditorium, both have a secular/civic purpose, and would allow students to experience choral literature in its historical context. Additionally, the creation of policies regarding the usage of any kind of music and/or the venues in which it is performed, as all are inclusive of the total educational experience of the students participating in ensembles should be viewed as a tragic mistake.

What a choral group performs is based on the ability of its director to have a broad range of repertoire, a historical understanding of the work and the performance practices of the work. One should also have an understanding of the venue for which the work was composed. In addition, it is vital that one consider the abilities of the group, and select music from both the sacred and secular traditions, as each historically and culturally influence the other.

[1] Lynn, Barry and Marc Stern. The Right to Religious Liberty: The Basic ACLU Guide to Religious Rights. 2nd ed. Illinois: Southern Illinois University, 1995, pg. 3.

[2] Justice Frankfurter concurring opinion in Wieman v. Updegraff, 1952.

[3] Justice Frankfurter concurring opinion in Wieman v. Updegraff, 1952.

[4] The U.S. Supreme Court emphasized the value of academic freedom in a 1967 ruling.

[5] Participating in Abington v. Schempp, decided June 17, 1963 were Chief Justice Earl Warren and Associate Justices Hugo L. Black, William J. Brennan, Jr., Tom C. Clark, William O. Douglas, Arthur J. Goldberg, John M. Harlan II, Potter Stewart, and Byron R. White.

Gregorian Chant Primer

The land of Solesmes has long been dedicated to God, according to the Acts of the bishops of Le Mans. Saint Thuribus organized public worship in the Gallo-Roman villa de Solesmis in the fifth century. The property of the Church of Le Mans was held as a benefice for a vassal of Charlemagne's court by the beginning of the ninth century. Soon, Norman raids were to place the church and its surroundings into other hands of Raoul de Beaumont, Vicecount of Le Maine. At the time, the counts of Le Mans, in order to fortify their border against Anjou, installed Geoffroy, Raoul's own brother, as lord at Sablé.

Raoul gave ownership of Solesmes to Geoffroy, who donated it to the monks of la Couture
by a charter conjecturally dated October 12, 1010. It is from this date that today's monastery of Solesmes reckons its foundation.  Very little is known about the monastery during the twelfth and thirteenth centuries.  The peace and prosperity of the era allowed brother Guillaume Patry, to dam the river Sarthe and construct two windmills to supply power.

However, difficult times were ahead. Some time before 1365, a house on the Isle of Sablé was donated to the monks and soon served as a place of refuge.  In 1375, Solesmes experienced it’s first taste of the sufferings brought on by the interminable Hundred Years War. Fifty years later, the English occupied the countryside, burning and devastated the monastery and left the town a skeleton of its former self, desolate and barren. In 1491, and again in 1497, Jean de Nemous made considerable donations so that the monks could fulfill their various liturgical and devotional responsibilities. Among these duties were the daily offices and the King's Mass, established in 1408 by Louis II of Anjou, king of Sicily and Jerusalem.

Gregorian Chant is a musical repertory of chants used in the liturgical services of the Roman Church. The liturgical tradition that the Church has bestowed on us is vocal, monophonic music composed in Latin from sacred texts. This is why Gregorian chant has often been called the sung Bible. Combined with liturgy in this way, the goal of Gregorian melodies is to favor spiritual growth in all parishioners, reveal God’s gifts, and the understanding of the message of salvation.

Gregorian chant, as it is referred to today first appeared in the Roman repertory of the fifth and sixth centuries. Its development and composition was in the hands of a group of clergy specifically dedicated in service to the Roman basilicas, the schola cantorum. Gregorian chant also appears to have been aural traditions, transmitted by ear and committed to memory, like most of the world’s music of the time.

In the second half of the eighth century, with much political upheaval between the French kingdom of Pepin, Charlemagne, and the papacy, widened the Roman liturgy's field of acceptance. The French crown expected it to be used throughout the kingdom. It was at this time that the written records begin to first appear first in France, then all over the entire Roman Empire and throughout its realm. Despite graphical differences it’s standardization is clearly recorded a single line unbroken tradition.

Texts, words and musical notation were committed to writing in books, which become an official reference text. The general attraction of Roman chant was its modal structure, which was of great attraction to Gallican singers. However, it was viewed in an entirely different way. Gregorian chant was the first term used to describe this mixture of Roman and Gallican chant.  Written records at first served as memory prompts with artistic directions for correct interpretation and performance practice.  Musical tones were still instructed by ear and conveyed from memory.

However, with the increase of pitch indications in the manuscripts came an equivalent decrease in interpretive guidelines, and a decrease in the role of memory. Because of this, Gregorian chant fell into disuse by the end of the middle Ages: the manuscripts offer little more than a heavy and tiresome succession of square notes. The Renaissance era brought with it Gregorian chant's death. The melodies, which show the correct reading of the literary text by highlighting keywords and phrases, were corrected by official musicologists, the long melismatic lines, for example were reduced to a few notes each. In addition the words, literary texts which were the official texts of the Roman liturgy, which that constituted a lyrical catechism, were also officially corrected and were aligned with a precise reading of the Vulgate Bible. This garbled form continued for two hundred years and is generally known in England as plainsong.

Dom Prosper Guéranger a priest in 1833 of the diocese of Le Mans, assumed the task of restoring the Benedictine monastic life on the site of an old priory at Solesmes, after forty years of disuse due to the French Revolution: he seized upon the restitution of Gregorian chant with eagerness. He began by working on its implementation by enlisting the help of his monks by placing the task of restoring the authentic melodies, with respect to the primacy of the text in their hands: pronunciation, accentuation and phrasing, with a goal to guaranteeing its understandability, in services of prayer.

The thin flyspecks handwriting of the original manuscripts was impossible to read at the time. However, the invention of photography brought surprising benefits with it. As time went on an unparalleled collection of facsimiles of the principal manuscripts was collected at Solesmes and in the libraries of all Europe: the Paleography of Solesmes.

Gregorian chant might seem monotonous. Unquestionably it creates discomfit in our ears, which are accustomed to more harmonic music, but often less thoughtful. The Gregorian repertory is a multifaceted genre, which unites several centuries of musical history. It is in fact a plethora of surprising variety, which without explanation invokes enthusiasm, as well as the most delicate periphery of emotions.

Irving Berlin - Song Opus

Irving Berlin (Israel Baline) was born in Tyumen, Russia in 1888. Berlin died in 1989. Berlin was a composer and lyricist, and considered the greatest American songwriters in history, The Dean of American Song Writers.

Although Berlin lived to be 101, his public career spanned 60 years. He composed over 1,500 songs, including the popular, even to this day, White Christmas, Happy Holidays, There's No Business Like Show Business, and America’s unofficial national anthem, God Bless America.

His compositional outpouring included nineteen Broadway shows and eighteen songs for Hollywood films.

ABRAHAM

AFTER THE HONEYMOON
AFTER YOU GET WHAT YOU WANT
ALEXANDER’S RAGTIME BAND
ALICE IN WONDERLAND
ALL ALONE
ALL BY MYSELF
All Myself (see ALL BY MYSELF)
ALL OF MY LIFE
ALONG CAME RUTH
ALWAYS
AMERICAN EAGLES
ANGELS OF MERCY
ANNA LIZA’S WEDDING DAY
Annie du Far West (see ANNIE GET YOUR GUN)
ANNIE GET YOUR GUN
Annie Get Your Moonshine (see ANNIE GET YOUR GUN)
ANTONIO YOU’D BETTER COME HOME
ANY BONDS TODAY?
ANYTHING YOU CAN DO
ARABY
ARMS FOR THE LOVE OF AMERICA
ARMY’S MADE A MAN OUT OF ME
AT PEACE WITH THE WORLD
AT THE DEVIL’S BALL
BACK TO BACK
BE CAREFUL, IT’S MY HEART
BEAUTIFUL FACES
BECAUSE I LOVE YOU
BEGGING FOR LOVE
BELLHOPS, THE
BELLS
BERLIN CAVALCADE
BERLIN MEDLEY
BEST THING FOR YOU, THE
BEST THINGS HAPPEN WHILE YOU’RE DANCING, THE
BETTER LUCK NEXT TIME
BLOW YOUR HORN
BLUE SKIES
Blue Skies (see INSIDE MY MIND)
BRING BACK MY LENA TO ME
BUT WHERE ARE YOU
BUTTER FINGERS
CALL AGAIN
CALL ME MADAM
CALL ME UP SOME RAINY AFTERNOON
CALL OF THE SOUTH
CAN YOU USE ANY MONEY TODAY
Carefree (see CHANGE PARTNERS)
Cavalcade of Irving Berlin Songs (see BERLIN CAVALCADE)
CHANGE PARTNERS
Chapeau Cravate Habit (see TOP HAT, WHITE TIE AND TAILS)
Chasing the Blues Away (see SHAKING THE BLUES AWAY)
CHEEK TO CHEEK
Cheers, Wedding Bell Blues (see YOU’RE JUST IN LOVE)
CHINESE FIRE CRACKERS
CHOREOGRAPHY
Chuk to Chuk (see CHEEK TO CHEEK)
CIRCUS DANCE
CIRCUS I COMING TO TOWN
CLIMBING UP THE SCALE
COCOANUTS
Coguette (see COQUETTE)
COHEN OWES ME $97.00
COLONEL BUFFALO BILL
COQUETTE
COSMO’S OPENING
COUNT YOUR BLESSINGS (INSTEAD OF SHEEP)
COUPLE OF SONG & DANCE MEN
COUPLE OF SWELLS, A
CRINOLINE DAYS
DANCE & GROW THIN
Dance To The Music of the Ocarina (see OCARINA, THE)
DANCE WITH ME TONIGHT
DEBTS
DIAMOND HORSESHOE
Dixie (see I’M GOING BACK TO DIXIE)
Doch Meine Liebe Haelt Mich (see I’VE GOT MY LOVE TO KEEP ME WARM)
DOIN’ WHAT COMES NATUR’LLY
DON’T BE AFRAID OF ROMANCE
DON’T WAIT TOO LONG
DORANDO
DOWN IN CHATTANOOGA
DROWSY HEAD
DRUM CRAZY
DRUM DANCE
EASTER PARADE
EMPTY POCKETS FILLED WITH LOVE
EVERYBODY KNEW BUT ME
EVERYBODY STEP
EVERYBODY’S DOING IT NOW
EVERYTHING IN AMERICA IS RAGTIME
Everything You Can Do (see ANYTHING YOU CAN DO)
Falling In Love Is Wonderful (see THEY SAY IT’S WONDERFUL)
FALLING OUT OF LOVE CAN BE FUN
Fancy Free (see NO STRINGS, I’M FANCY FREE)
FELLA WITH AN UMBRELLA, A
FIFTH ARMY’S WHERE MY HEART IS, THE
FIRST LADY
FIVE O’CLOCK TEA
FLORIDA BY THE SEA
FOLLOW THE CROWD
FOLLOW THE FLEET
FOOLS FALL IN LOVE
FOR THE VERY FIRST TIME
FOR YOUR COUNTRY AND MY COUNTRY
FREEDOM TRAIN, THE
FROM HERE TO SHANGHAI
FUNNIES, THE
GEE I WISH I WAS BACK IN THE ARMY
GENTLEMEN PREFER BLONDES
GET THEE BEHIND ME SATAN
GETTING NOWHERE
GIRL ON THE MAGAZINE COVER, THE
GIRL ON THE POLICE GAZETTE, THE
GIRL THAT I MARRY, THE
GIRLS OF MY DREAMS, THE
GIVE ME YOUR TIRED, YOUR POOR
GLAD TO BE HOME
GOD BLESS AMERICA
GOOD BYE FRANCE
GOODY GOODY GOODY GOODY
GRIZZLY BEAR (RAG)
HAND THAT ROCKED MY CRADLE
HAPPY EASTER
HAPPY HOLIDAY
HAPPY NEW YEAR BLUES
Happy Violin (see RAGTIME VIOLIN)
HAREM LIFE
HARLEM ON MY MIND
HE AIN’T GOT RHYTHM
HE’S A DEVIL (IN HIS OWN HOME)
HE’S A RAG PICKER
HEAT WAVE
HEAVEN WATCH THE PHILIPPINES
Heimweb (see ALWAYS)
HELP ME TO HELP MY NEIGHBOR
HOLIDAY INN
HOME AGAIN BLUES
HOMESICK
HOMEWORK
HON RABLE PROFESSION
HOSTESS WITH MOSTES’ ON THE BALL
HOW ABOUT A CHEER
HOW ABOUT ME
HOW DEEP IS THE OCEAN
HOW DO YOU DO IT MABLE
HOW MANY TIMES
HOW MUCH I LOVE YOU
HOW’S CHANCES?
Hva’somhelst Du Kan (see ANYTHING YOU CAN DO)
I CAN ALWAYS FIND A LITTLE SUNSHINE
I CAN’T DO WITHOUT YOU
I CAN’T REMEMBER
I CAN’T TELL A LIE
I Dance With You (see DANCE WITH ME TONIGHT)
I GOT LOST IN HIS ARMS
I Hate to Get Up In The Morning (see OH HOW I HATE TO GET UP IN THE MORNING)
I KEEP RUNNING AWAY FROM YOU
I LEFT MY HEART (AT THE STAGE DOOR CANTEEN)
I Like Ike (see THEY LIKE IKE)
I Lost You (see I GOT LOST IN HIS ARMS)
I LOVE A PIANO
I LOVE TO DANCE
I LOVE YOU
I NEVER HAD A CHANCE
I NEVER KNEW
I PAID MY INCOME TAX TODAY
I POURED MY HEART INTO A SONG
I SAY IT’S SPINACH
I STILL LIKE IKE
I THREW A KISS IN THE OCEAN
I USED TO BE COLOR BLIND
I USED TO PLAY IT BY EAR
I Want To Be In Dixie (see I’M GOING BACK TO DIXIE)
I WANT TO GO BACK TO MICHIGAN
I WONDER
I Wonder Why (see YOU’RE JUST IN LOVE)
I’D LIKE MY PICTURE TOOK
I’D LOVE TO BE SHOT
I’D RAHTER LEAD A BAND
I’D RATHER SEE A MINSTREL SHOW
I’LL CAPTURE YOUR HEART SINGING
I’LL MISS YOU IN THE EVENING
I’LL SEE YOU IN CUBA
I’LL SHARE IT ALL WITH YOU
I’LL TAKE YOU BACK TO ITALY
I’M A BAD, BAD MAN
I’M AN INDIAN, TOO
I’M BEGINNING TO MISS YOU
I’M GETTING TIRED SO I CAN SLEEP
I’M GOING BACK TO DIXIE
I’M GONNA GET HIM
I’M LOOKING FOR A DADDY LONG LEGS
I’M NOT AFRAID
I’M ON MY WAY HOME
I’M PLAYING WITH FIRE
I’M PUTTING ALL MY EGGS IN ONE BASKET
’M SORRY FOR MYSELF
I’VE GOT A SWEET TOOTH
I’VE GOT MY CAPTAIN WORKING
I’VE GOT MY LOVE TO KEEP ME WARM
I’VE GOT PLENTY TO BE THANKFUL FOR
I’VE GOT THE SUN IN THE MORNING
I’VE GOT TO BE AROUND
Ich Hab Dich Tsu Fil Lib (see I’VE GOT THE SUN IN THE MORNING)
Ich Hab Die Goldene Sonne (see I’VE GOT THE SUN IN THE MORNING)
IF I HAD MY WAY I’D LIVE AMONG THE GYPSIES
IF I HAD YOU
IF I THOUGHT YOU WOULDN’T TELL
IF THAT’S YOUR IDEA OF A WONDERFUL TIME
IF YOU BELIEVE (ME)
IF YOU DON’T WANT MY PEACHES (YOU’D BETTER STOP SHAKING MY TREE)
IKE FOR FOUR MORE YEARS
IN A COZY KITCHENETTE
IN ACAPULCO
IN MY HAREM
IN OUR HIDE AWAY
IN THE MORNING
IN THE SHADE OF SHELTERING
INSIDE MY MIND
IS HE THE ONLY MAN IN THE WORLD?
ISN’T THIS A LOVELY DAY
IT ALL BELONGS TO ME
IT GETS LONELY IN THE WHITE HOUSE
IT ONLY HAPPENS WHEN I DANCE WITH YOU
IT’LL COME TO YOU
IT’S A LOVELY DAY TOMORROW
IT’S THE LITTLE BIT OF IRISH
IT’S UP TO THE BAND
IT’S A LOVELY DAY TODAY
Jazz D Alexandre (see ALEXANDER’S RAGTIME BAND)
Jolie Femme Est Une Melod (see ONCE UPON A TIME TODAY)
Joue A Joue (see TOP HAT, WHITE TIE AND TAILS)
Jove A Jove (see CHEEK TO CHEEK)
Juntando Nuestras Caras (see TOGETHER WE TWO)
JUST A BLUE SERGE SUIT
JUST A LITTLE WHILE
Just One Way To Say I Love You (see I LOVE YOU)
KATE
KEEP AWAY FROM THE FELLOW WHO OWNS AN AUTOMOBILE
KENTUCKY KERNELS
KI I YOUDLING DOG
KISS ME, MY HONEY, KISS ME
KITCHEN POLICE
LADIES OF THE CHORUS
LADY OF THE EVENING
LATIN’S KNOW HOW
LAUGH IT UP
LAZY
LEARN TO DO THE STRUT
LEARN TO SING A LOVE SONG
Leis Klingt Das Glockche (see BELLS)
LET ME SING AND I’M HAPPY
LET YOURSELF GO
LET’S FACE THE MUSIC AND DANCE
LET’S GO BACK TO THE WALTZ
LET’S GO WEST AGAIN
LET’S HAVE ANOTHER CUP OF COFFEE
LET’S START THE NEW YEAR RIGHT
LET’S TAKE AN OLD FASHIONED WALK
Lichtenburg (see COSMO’S OPENING)
Liebe Ist Dabei (see PUTTIN’ ON THE RITZ)
LINDY
LISTENING
LITTLE BUNGALOW
LITTLE FISH IN A BIG POND
LITTLE OLLD CHURCH IN ENGLAND
LITTLE THINGS IN LIFE
LONELY HEART
LOOKING AT YOU
LORD DONE FIXED UP MY SOUL
Lost in His Arms (see I GOT LOST IN HIS ARMS)
LOUISIANA PURCHASE
LOVE AND THE WEATHER
LOVE YOU DIDN’T DO RIGHT BY ME
LUCKY BOY
MACARENA CHRISTMAS
Magician (see I WANT TO GO BACK TO MICHIGAN)
Mammy (see TO MY MAMMY)
MAN BITES DOG
MAN CHASES A GIRL, A
MANDY
MANHATTAN MADNESS
MARCHING ALONG WITH TIME
Maria (see MARIE)
MARIE
MARIE FROM SUNNY ITALY
MARRYING FOR LOVE
MAYBE I LOVE YOU TOO MUCH
Maybe It’s Because I Love You Too Much (see MAYBE I LOVE YOU TOO MUCH)
ME
ME AND MY BUNDLE
ME AND MY MELINDA
MEAT AND POTATOES
METROPOLITAN OPENING
Mich Huelly Die Liebe Waerme (see I’VE GOT MY LOVE TO KEEP ME WARM)
Michigan (see I WANT TO GO BACK TO MICHIGAN)
MINSTREL DAYS
Minstrel Parade (see MINSTREL DAYS)
Minstrel Show (see MINSTREL DAYS)
MISS LIBERTY
Miss Lonely Heart (see LONELY HEART)
MONKEY-DOODLE-DOO
Monotony (see MR. MONOTONY)
MOONSHINE LULLABY
MOST EXPENSIVE STATUE IN THE WORLD
MR. JAZZ HIMSELF
MR. MONOTONY
MRS. SALLY ADAMS
MY BIRD OF PARADISE
MY BRITISH BUDDY
MY DEFENSES ARE DOWN
MY NEW YORK
MY SERGEANT AND I ARE BUDDIES
MY SWEETIE
MY WALKING STICK
MY WIFE’S GONE TO THE COUNTRY
NEXT TO YOUR MOTHER, WHO DO YOU LOVE
NIGHT IS FILLED WITH MUSIC, THE
No Sabes Lo Que Quiere (see AFTER YOU GET WHAT YOU WANT)
NO STRINGS, I’M FANCY FREE
NOBODY KNOWS (AND NOBODY SEEMS TO CARE)
Noel Blanc (see WHITE CHRISTMAS)
NOT FOR ALL THE RICE IN CHINA
NOTHING MORE TO SAY
NOW IT CAN BE TOLD
O, TO BE HOME AGAIN
OCARINA, THE
OH HOW I HATE TO GET UP IN THE MORNING
OH, HOW THAT GERMAN COULD LOVE
Oh, Marie (see MARIE)
OH, THAT BEAUTIFUL RAG
OLD FASHIONED TUNE ALWAYS IS NEW, AN
Old Fashioned Walk (see LET’S TAKE AN OLD FASHIONED WALK)
OLD FASHIONED WEDDING, AN
OLD MAIDS BALL
OLD MAN
ON A ROOF IN MANHATTAN
ON THE AVENUE
ONCE UPON A TIME TODAY
ONE GIRL
ONLY FOR AMERICANS
OOH, MAYBE IT’S YOU
OPERATION VITTLES
Orange Blossoms in California (see ORANGE GROVE IN CALIFORNIA)
ORANGE GROVE IN CALIFORNIA
OUR WEDDING DAY
OUTSIDE OF THAT I LOVE YOU
PACK UP YOUR SINS AND GO
PARADE
PARIS WAKES UP AND SMILES
PASSION FLOWER
PIANO MAN
PIANO SPECIALTY
PICCOLINO
PICK YOURSELF UP
PIGTAILS AND FRECKELS
Play A Simple Melody (see SIMPLE MELODY)
POLICEMAN’S BALL, THE
POOR LITTLE RICH GIRLS’ DOG
Pres De Vous (see BLUE SKIES)
PRESIDENT’S BIRTHDAY BALL, THE
Prett In On Fritz (see PUTTIN’ ON THE RITZ)
PRETTY GIRL IS LIKE A MELODY, A
PULITZER PRIZE, THE
PULLMAN PORTER’S PARADE
PUTTIN’ ON THE RITZ
RAGTIME VIOLIN
RAINBOW OF GIRLS
REACHING FOR THE MOON
REMEMBER
REVOLT IN CUBA
ROCK A BYE BABY
ROSES
ROSES OF YESTERDAY
RUSSIAN LULLABY
RUSSIAN WINTER
SADIE SALOME GO HOME
SAILOR’S NOT A SAILOR
Salute to Irving Berlin (see BERLIN MEDLEY)
SAY IT ISN’T SO
SAY IT WITH FIRECRACKERS
SAY IT WITH MUSIC
SAYONARA
SCHOOLHOUSE BLUES
SECRET SERVICE MR. PRESIDENT
SERENADE TO AN OLD FASHIONED GIRL
Setting Nowhere (see GETTING NOWHERE)
SETTLE DOWN
SEX MARCHES ON
SHAKING THE BLUES AWAY
SHE’S BEEN DRINKING CIDER
SHOW US HOW TO
Siempre (see ALWAYS)
SIMPLE MELODY
SINCE THEY TURNED
SISTERS
SITTIN’ IN THE SUN
SLUMMING ON PARK AVENUE
SMILE AND SHOW YOUR DIMPLE
SNOOKEY OOKUMS
SNOW
SO HELP ME
SOFT LIGHTS AND SWEET MUSIC
SOME SUNNY DAY
SOMEONE ELSE MAY BE THERE
SOMEONE IS COMING TO MY HOUSE
SOMETHING TO DANCE ABOUT
SONG FOR BELLY DANCER
SONG IS ENDED
SONG OF FREEDOM
SONG OF THE METRONOME
Stage Door Canteen (see I LEFT MY HEART (AT THE STAGE DOOR CANTEEN))
STAY DOWN HERE WHERE YOU BELONG
STEPPIN’ OUT WITH MY BABY
STOP! LOOK! LISTEN!
STOP, COME OVER, LOVE ME SOME
SUNSHINE
SUPPER TIME
SWANEE SHUFFLE
SWEETER THAN SUGAR IS MY SWEETHEART
SWING, SISTER
SYNCOPATED WALK
TAKE A LITTLE TIP FROM FATHER
TAKE IT IN YOUR STRIDE
TAKE ME WITH YOU, SOLDIER BOY
TAKE OFF A LITTLE BIT
TALE OF A SHIRT
TANGO MELODY
TELL HER IN THE SPRINGTIME
TELL ME, LITTLE GYPSY
THAT HULA HULA
THAT INTERNATIONAL RAG
THAT MESMERIZING MENDELSSOHN
THAT MYSTERIOUS RAG
THAT OPERA RAG
THAT SOCIETY BEAR
THAT’S A GOOD GIRL
The Blues Serenade (see BLUE SKIES)
THERE ARE NO WINGS ON A FOX
THERE’S A CORNER UP IN HEAVEN
THERE’S A GIRL IN ARIZONA
THERE’S A GIRL IN HAVANA
THERE’S NO BUSINESS LIKE SHOW BUSINESS
THEY CALL IT DANCING
THEY LIKE IKE
THEY LOVE ME
THEY SAY IT’S WONDERFUL
They Say That Falling In Love Is Wonderful (see THEY SAY IT’S WONDERFUL)
THEY WERE ALL OUT OF STEP BUT JIM
THEY’VE GOT ME DOIN’ IT NOW
THIS IS A GREAT COUNTRY
THIS IS THE ARMY
THIS IS THE ARMY, MISTER JONES
THIS IS THE LIFE
THIS TIME
THIS YEAR’S KISSES
THROUGH A KEYHOLE
TO BE FORGOTTEN
TO MY MAMMY
TOGETHER WE TWO
TOP HAT, WHITE TIE AND TAILS
TORCH SONG
Toronto Song (see TORCH SONG)
Tourjour (see ALWAYS)
TRA LA LA LA
TWO CHEERS INSTEAD OF THREE
VIRGINIA LOU
WAIT UNTIL YOU ARE MARRIED
WAIT UNTIL YOUR DADDY HEARS
WAITING AT THE END OF THE ROAD
Walking Stick (see MY WALKING STICK)
WALTZ OF LONG AGO
WAS THERE EVER A PAL LIKE YOU
WASHINGTON SQUARE DANCE
WASHINGTON TWIST MR. PRESIDENT
WATCH YOUR STEP
WE DON’T LIKE IT
WE HAVE MUCH TO BE THANKFUL FOR
WE SAW THE SEA
WE SHOULD CARE
WE’LL NEVER KNOW
We’re A Couple Of Swells (see COUPLE OF SWELLS, A)
WE’RE ON OUR WAY TO FRANCE
Wer Kann Tiefer (see WHO)
WHAT ARE WE GOING TO DO
WHAT CAN YOU DO WITH A GENERAL?
WHAT CHANCE HAVE I WITH YOU?
WHAT DOES HE LOOK LIKE
WHAT DOES IT MATTER
WHAT WELL DRESSED MAN
WHAT’LL I DO?
WHEN BLACK SHEEP RETURNS
WHEN I DISCOVERED YOU
WHEN I GET BACK TO THE U.S.
WHEN I LEAVE THE WORLD BEHIND
WHEN I LOST YOU
WHEN IT’S NIGHT TIME IN DIXIE LAND
WHEN MY DREAMS COME TRUE
WHEN THAT MAN IS DEAD AND GONE
WHEN THAT MIDNIGHT CHOO CHOO LEAVES
WHEN THE FOLKS HIGH UP
WHEN THIS CRAZY WORLD
WHEN WINTER COMES
WHEN YOU WALKED OUT, SOMEONE WALKED IN
WHEN YOU’RE DOWN IN LOUISVILLE
WHEN YOU’RE IN TOWN
WHERE IS MY LITTLE OLD NEW
WHERE IS THE SONG OF SONGS FOR ME
WHISTLING RAG
WHITE CHRISTMAS
WHO
WHO DO YOU LOVE I HOPE
WHY DO YOU WANT TO KNOW WHY?
Wie Hoch Ist Der Him (see HOW DEEP IS THE OCEAN)
WILD ABOUT YOU
WILD CHERRIES (RAG)
WILL SHE COME FROM THE EAST
WITH A FAMILY REPUTATION
WITH MUSIC
WITH MY HEAD IN THE CLOUDS
WITH YOU
WITHOUT YOU
Witte Kerstmis (see WHITE CHRISTMAS)
WOODMAN, WOODMAN SPARE THAT TREE
YAM STEPS, THE
YASCHA MICHAELOFFSKY’S MELODY
YIDDLE ON YOUR FIDDLE PLAY
YOU CAN HAVE HIM
YOU CAN NOT MAKE YOU MIND UP
YOU CAN’T BRUSH ME OFF
YOU CAN’T GET A MAN WITH A GUN
YOU CAN’T LOSE
You Forgot to Remember (see REMEMBER)
YOU KEEP COMING BACK
YOU NEED A HOBBY
You Never Looked So Beautiful (see YOU’RE SO BEAUTIFUL)
YOU’D BE SURPRISED
YOU’RE EASY TO DANCE WITH
You’re In The Army Now (see THIS IS THE ARMY, MISTER JONES)
YOU’RE JUST IN LOVE
YOU’RE LAUGHING AT ME
YOU’RE LONELY AND I’M LONELY
YOU’RE SO BEAUTIFUL