Charlotte Greenspan writes about the adaptability of Irving Berlin and his music. Berlin paid attention not only to different ethnicities in his songs, but also to the entertainment trends and technological developments of time. He also wrote patriotic songs during the First World War. Greenspan notes that although Berlin was always conscious of the era, there is also a timeless quality to many of his songs. As sound emerged in film Berlin left the stage and moved to California to write songs for films, one of his first was The Jazz Singer. After not having much success in Hollywood, Berlin left to go back to the stage, only to return in 1935. Greenspan writes that Berlin signed a contract with RKO that allowed him more creative freedom than any of the studios he had worked with earlier in his career as well as a good share of the profits. Greenspan looks at the film Top Hat for which Berlin did the music. She describes each of the five songs as “unusual in one way or another.” She also explains how the music functions in early sound films and addresses the issue of why the characters are singing? Greenspan claims that in this film Berlin wrote songs that interesting so they could be played repeatedly and so they could be recognizable. This was Berlin’s method of plugging a song in a film. Greenspan also notes how Berlin lengthened songs and adapted form to fit the film so a piece was not repeated over and over. She examines this more with an in-depth analysis of Berlin’s song “Cheek to Cheek” which is nine minutes long in the film Top Hat.
Greenspan then turns to the compiled score for Alexander’s Ragtime Band. This film is significant because it details the development of the popular song and is also a biography of Berlin, in a sense. The film’s score only had three pieces composed for it, the rest of the twenty-three pieces were compiled from previous works. Greenspan uses this film to show how popular songs were placed in film at that time and also shows its significance in the history of film and Berlin’s career.
Greenspan concludes her article with an explanation of how Berlin went to Hollywood and adapted himself for scoring films. He not only developed his style for film music but put songs in films in a way that was original and innovative.
This article gives an interesting look at the early film score and how the popular song fit into it. Irving Berlin is an Icon and he demonstrates the connection between the music and film worlds. He shows how the two adapt and fuse together.

Charlotte Greenspan writes about the adaptability of Irving Berlin and his music.  Berlin paid attention not only to different ethnicities in his songs, but also to the entertainment trends and technological developments of time.  He also wrote patriotic songs during the First World War.  Greenspan notes that although Berlin was always conscious of the era, there is also a timeless quality to many of his songs.  As sound emerged in film Berlin left the stage and moved to California to write songs for films, one of his first was The Jazz Singer.  After not having much success in Hollywood, Berlin left to go back to the stage, only to return in 1935.  Greenspan writes that Berlin signed a contract with RKO that allowed him more creative freedom than any of the studios he had worked with earlier in his career as well as a good share of the profits.  Greenspan looks at the film Top Hat for which Berlin did the music.  She describes each of the five songs as “unusual in one way or another.”  She also explains how the music functions in early sound films and addresses the issue of why the characters are singing?  Greenspan claims that in this film Berlin wrote songs that interesting so they could be played repeatedly and so they could be recognizable.  This was Berlin’s method of plugging a song in a film.  Greenspan also notes how Berlin lengthened songs and adapted form to fit the film so a piece was not repeated over and over.  She examines this more with an in-depth analysis of Berlin’s song “Cheek to Cheek” which is nine minutes long in the film Top Hat.
    Greenspan then turns to the compiled score for Alexander’s Ragtime Band.  This film is significant because it details the development of the popular song and is also a biography of Berlin, in a sense.  The film’s score only had three pieces composed for it, the rest of the twenty-three pieces were compiled from previous works.  Greenspan uses this film to show how popular songs were placed in film at that time and also shows its significance in the history of film and Berlin’s career. 
    Greenspan concludes her article with an explanation of how Berlin went to Hollywood and adapted himself for scoring films.  He not only developed his style for film music but put songs in films in a way that was original and innovative.
    This article gives an interesting look at the early film score and how the popular song fit into it.  Irving Berlin is an Icon and he demonstrates the connection between the music and film worlds.  He shows how the two adapt and fuse together.