Chapter 11: Pop Music in the 1940s and 1950s
“Some Enchanted Evening”
Album/Year Released
Premiered 1949 in the musical South Pacific
Artist/Composer
Richard Rodgers (1902–1979), composer; Oscar Hammerstein II (1895–1960), lyricist
Performed by Perry Como (popular recording)
Genre/Style
Broadway; musical theater; standard ballad
Song Form
32-bar AABA
“Some Enchanted Evening” was composed by Richard Rodgers with lyrics by Oscar Hammerstein II for the 1949 musical South Pacific. Introduced as a solo for the leading male character, Emile de Becque, the song serves as a reflective moment in the drama and quickly spread beyond the stage through recordings and radio broadcasts. Structurally, it follows a standard 32-bar AABA form, with four eight-bar sections. The A sections present and restate the main melodic idea and harmonic framework, while the B section introduces new harmonic motion, often through secondary dominants or brief tonal shifts, before returning to the original material.
The first verse describes the initial encounter with a stranger and the immediate romance it inspires. The second verse reflects Emile’s certainty that he will see her again, imagining her laughter and presence even in her absence. The third verse expresses a more explicit sense of devotion, asserting that when one finds “true love,” one must act decisively or risk a life defined by longing and solitude. This culminates in Emile’s request that Nellie marry him. The song is later reprised several times by Emile and Nellie as their relationship experiences tension, separation, and reconciliation, reinforcing its thematic role within the musical.
Perry Como’s 1949 recording of Some Enchanted Evening became a #1 hit and helped popularize the song beyond Broadway. Como’s performance exemplifies the crooning style, with a smooth, intimate vocal delivery that emphasizes sustained tone, subtle dynamic shading, and close phrasing made possible by microphone amplification. His version features lush orchestral accompaniment, balanced to support the voice without overwhelming it, highlighting the song’s lyrical and melodic qualities. The recording’s success contributed to the song’s status as a musical standard, widely performed, recorded, and reinterpreted across genres. Como’s interpretation shows how Broadway compositions could be adapted for radio and popular music audiences, translating theatrical storytelling into an approachable, commercially viable format. Its clear 32-bar AABA form, memorable melody, and adaptable harmony made the piece suitable for stage, radio, and later jazz performances, showing how Rodgers and Hammerstein’s songwriting influenced mid-twentieth-century popular music and illustrated the principles of formal musical structure.
“Tennessee Waltz”
Album/Year Released
Recorded 1950; major release 1950
Artist/Composer
Redd Stewart (lyricist); Pee Wee King (composer)
Patti Page (1927–2008), performer;
Genre/Style
Country/pop crossover
Song Form
Verse-chorus
“Tennessee Waltz” was written by Pee Wee King (music) and Redd Stewart (lyrics) in the mid-1940s and gained popularity through Patti Page’s 1950 recording, which introduced the song to country and pop audiences. The piece is set in triple meter (3/4), producing the characteristic waltz rhythm with a strong first beat followed by two lighter beats. The lyrics tell a story of love, loss, and reflection.
The song is structured with two primary verses followed by a repeated chorus. In between the chorus and verse two there is an instrumental verse before the vocals return. Each verse contains the same lyrics and develops the narrative of an encounter at a dance, while the refrain returns to the central emotional theme. This straightforward structure emphasizes the vocal line and narrative clarity over harmonic complexity, making the song suited to popular recording and radio formats of the period.
Patti Page’s recording is notable for its use of overdubbing, a studio technique in which separate vocal tracks are recorded independently and layered. In “Tennessee Waltz,” Page recorded both the melody and harmony parts herself, creating the effect of a vocal duet. Overdubbing allowed careful control over balance, blend, and timing, producing a rich, full-bodied sound that would have been difficult to achieve in a single live performance, and allowed Page herself to sing the vocal harmonies effectively, creating the sonic illusion of multiple singers. This technique highlighted the expanding role of studio technology in shaping popular music. Her version became a commercial success, topping charts and remaining in circulation for decades.