Google Doodle today honors Amanda Aldridge, a prominent musician, and teacher in her era, who used the alias Montague Ring. What happened to the parlor song as a genre is examined in her most important works. African-British composer, teacher, and singer W. E. B. Du Bois asked to speak at the Second Pan-African Congress in 1921 to discuss the effects of European colonization on Africa. Because she was taking care of her sick sister, a talented contralto singer, she had to decline the invitation to the high-profile event.
Who Is Amanda Aldridge?
Amanda Aldridge, a prolific Romantic parlor songwriter, and teacher was the subject of this investigation. “As you know, my sister is completely reliant on me… Aldridge’s response to Du Bois was, “I can’t leave for more than a few minutes at a time. Luranah Aldridge, her younger sister, committed suicide 10 years later.
The Aldridges have left a lasting, intriguing, and inspirational legacy. Were you familiar with Amanda Aldridge, and if so, why? Everything you need to know about the composer and teacher is here.
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When and Where Did Amanda Aldridge Grow Up?
During the 19th and 20th Centuries, Amanda Aldridge Was a British Opera Singer, Instructor, and Composer Who Went Under the Pseudonym Montague Ring. When Ira Aldridge First Appeared as Othello in London’s Royalty Theatre in 1825, He Was Called the ‘African Roscius’ Because of His Skin Color.
As the First African-American Operatic Contralto to Perform at Bayreuth Opera House until Sickness Caused Her to Cancel, Her Mother Amanda Brandt Was a Swede. Her Sisters Rachael and Luranah Aldridge Were Both Swedes. Ira Daniel Aldridge and Ira Frederick, a Pianist, Were Also Brothers. Like Their Sister Luranah, They Also Perished at An Early Age.
Composer and Singer Amanda Aldridge Studied at The Royal College of Music with Jenny Lind, Who has Memorably Represented in The Musical Film The Greatest Showman, and Frederick Bridge, Amongst Other Professors and Performers There.
Influential Composer and Educator Amanda Aldridge
A Throat Ailment for Aldridge.
When Laryngitis Turned Into a Throat Ailment for Aldridge, She Was Forced to Give up Performing and Composing Altogether. Aside from Being a Prolific Composer and Teacher, She Also Left a Lasting Impression on The British Music Scene. Roland Hayes and Lawrence Benjamin Brown, Two of Her Most Acclaimed Students, Were Among Her Students.
When Aldridge Wrote Parlour Music as Montague Ring, His Impact Was Truly Amazing. Aside from The Dozens of Songs She Penned, She Also Composed a Large Number of Instrumental Compositions. They Were Successful Because of The Way They Combined Many Rhythmic Influences and Genres.
Three Arabian Dances, Lazy Dance, and Songs Like ‘little Missie Cakewalk’ and ‘little Southern Love Song’ Are Among Her Most Popular Works. Several of Aldridge’s Songs Helped Her to Explore Her Half-African-American Background, Which Her Mentor Jenny Lind Urged. Her Friendship with Samuel Coleridge-Taylor and His Family Was Part of Her Involvement in London’s African-British Community.
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Greatest Famous African-American.
According to Patricia Hammond, a Mezzo-Soprano Who Is Also an Author, Samuel Coleridge-Taylor Was a Close Friend of Avril Coleridge-Mother. Taylor’s to Some of The Greatest Famous African-American, British-Caribbean and African-British Singers and Actors, Including Paul Robeson, Marian Anderson and Lawrence Benjamin Brown She Taught Singing and Dictation.”
“she Not only Taught Them, but She Was Extraordinarily Gracious in Offering Introductions and Maintaining a Community of Support,” Says Hammond. Two of Aldridge’s Best-Known Works Were the Songs “summah Is De Lovin’ Time” and “tis Morning,” Both Written by The Great African-American Writer Paul Laurence Dunbar, and The Piano Concerto “three African Dances,” Which She Composed During Her Lifetime.
She Attributes.
A Parlour Song Is a Piece of Music that Is Sung in A Living Room. The “immediate Humanity” of Parlor Songs Is One of Their Greatest Appeals, According to Singer Patricia Hammond.
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She Attributes This to The Fact that They “wear Their Heart on The Outside.” People-Oriented Music Is What These Songs Are All About.” Songs that Stick in Your Head. ‘i Want Something Mellifluous!’ Was Uttered by A Woman Sitting Next to Me in An Audience Once. “they’re Sultry.”
The Term “parlor Song” Refers to A Type of Popular Song Made for Acoustic Instruments Such as A Voice and Piano and Intended for Listening in One’s Home. Even Skilled Musicians Could Perform Them Because of This. The Parlour Song Genre Was Not only Dominated by Aldridge, but Also by The Likes of May Brahe, Amy Woodforde-Finden, Carrie Jacobs-Bond, and Charlotte Alington Barnard, to Name a Few.
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These Popular Melodies.
Patricia Hammond Says that Rival Publishers Competed to Disparage Charlotte Alington Barnard in Print, Arguing that Her Works Could Be Performed and Sung at Home, as Well as Their Catchiness, Caused a Degeneration of Popular Taste in 1860.
A Parlour Song Is a Type of Folk Song.
The “immediate Humanity” of Parlor Songs Is One of Their Greatest Appeals, According to Singer Patricia Hammond. She Attributes This to The Fact that They “wear Their Heart on The Outside.” People-Oriented Music Is What These Songs Are All About.” Songs that Stick in Your Head. ‘i Want Something Mellifluous!’ Was Uttered by A Woman Sitting Next to Me in An Audience Once.
“they’re Sultry.” These Popular Melodies, Usually Sung with Piano Accompaniment, Were Meant to Be Enjoyed in The Comfort of A Person’s Own Home, and Were Often Written so As Not to Be Overly Virtuoso. Even Skilled Musicians Could Perform Them Because of This. Aldridge Was Not the Only Woman Who Made a Name for Herself in The Parlour Song Genre; Other Notables Include May Brahe, Amy Woodforde-Finden, Carrie Jacobs-Bond, and Charlotte Alington Barnard.
That Charlotte Alington Barnard’s “Claribel” Ballads Were so Popular and Easy to Perform and Sing at Home in The Late 1800s that Rival Publishers Competed to Denigrate Her in Print, Claiming that their catchiness, as well as the ease with which her works could be played and sang at home, had a detrimental effect on public taste, writes Patricia Hammond.
