1900–1919 Popular Music: Ragtime, Broadway Songs, Patriotic Music, Irish Ballads, Early Blues, Tin Pan Alley, and Songs Before Radio Took Over

Popular music from 1900 to 1919 lived in a different world than the hit songs that came later. Before commercial radio became part of everyday American life in the 1920s, most people heard songs through sheet music, vaudeville stages, musical theater, military bands, church and school performances, phonograph records, player pianos, public dances, and family parlor pianos. A song did not need a radio DJ to become famous; it needed people to buy it, play it, sing it, whistle it, march to it, or hear it performed on stage.

This era gave America and the wider English-speaking world some of its most durable songs: Take Me Out to the Ball Game, America the Beautiful, Danny Boy, Over There, Alexander’s Ragtime Band, St. Louis Blues, Let Me Call You Sweetheart, Shine On, Harvest Moon, By the Light of the Silvery Moon, I’m a Yankee Doodle Dandy, and Give My Regards to Broadway. Some were patriotic. Some were sentimental. Some were comic. Some were dance songs. A surprising number became permanent fixtures at ballparks, graduations, parades, school concerts, and family sing-alongs.

The years 1900–1919 also show how quickly American music was changing. Ragtime helped reshape rhythm. Broadway and vaudeville turned performers into stars. Tin Pan Alley made sheet music a national business. World War I produced patriotic and soldier songs. Blues entered published music and recordings. Classical pieces also crossed into popular culture because audiences heard them at concerts, ceremonies, movie houses, and public events. This was popular music before playlists, but the hits still traveled.

Top 10 Songs of the Early 1900s:

1. I’m a Yankee Doodle Dandy – 1904 (by George M. Cohan)
2. America the Beautiful – 1910
3. Danny Boy – 1913
4. Take Me Out to the Ball Game – 1908 (by Jack Norworth & Albert Von Tilzer)
5. Pomp and Circumstance – 1902 (by Edward Elgar)
6. The Grand Old Rag aka You’re a Grand Old Flag – 1906 (by George M. Cohan)
7. When Irish Eyes Are Smiling – 1912 (by Chauncey Olcott, George Graff Jr. & Ernest R. Ball)
8. Daddy’s Little Girl – 1905 (by Edward Madden & Theodore F. Morse)
9. The Bells of St. Mary’s – 1917 (by Douglas Furber & A. Emmett Adams)
10. Give My Regards to Broadway – 1904 (by George M. Cohan)

1900–1919 Music by Style and Era

How People Heard Music Before Radio

In the 1900s and 1910s, the music business was built heavily around sheet music. Families bought songs to play at home, often on upright pianos in parlors or sitting rooms. Player pianos also helped spread popular songs, letting people hear music mechanically even if no one in the house could play especially well. Basically, it was the original “press play,” except the furniture did most of the work.

Vaudeville theaters, minstrel shows, musical comedies, dance halls, military bands, church gatherings, and school programs also spread songs quickly. Phonograph records were growing, but the record business was not yet the dominant force it later became. A song like Take Me Out to the Ball Game or Let Me Call You Sweetheart could become famous because people sang it themselves, not because they heard it every hour on the radio.

• Take Me Out to the Ball Game – Jack Norworth and Albert Von Tilzer
• Let Me Call You Sweetheart – Beth Slater Whitson and Leo Friedman
• By the Light of the Silvery Moon – Edward Madden and Gus Edwards
• Shine On, Harvest Moon – Nora Bayes and Jack Norworth
• In the Good Old Summer Time – George Evans and Ren Shields
• Put On Your Old Grey Bonnet – Stanley Murphy and Percy Wenrich
• In the Shade of the Old Apple Tree – Harry Williams and Egbert Van Alstyne
• Meet Me in St. Louis, Louis – Kerry Mills and Andrew B. Sterling

Ragtime, Syncopation, and the Beat That Changed Popular Music

Ragtime was one of the most important musical forces of the early 1900s. Scott Joplin’s The Entertainer and Scott Joplin’s New Rag belong at the center of this story because they helped define the syncopated piano style that shaped American popular rhythm. Ragtime was written music, dance music, parlor music, and a bridge toward jazz.

Ragtime’s later afterlife was enormous. The Entertainer became famous to a new generation through the 1973 film The Sting, where Marvin Hamlisch’s arrangement helped make Joplin’s music widely popular again. That is one of the strongest examples of an early-1900s composition returning more than 70 years later as a pop-culture hit.

• The Entertainer – Scott Joplin
• Scott Joplin’s New Rag – Scott Joplin
• Maple Leaf Rag – Scott Joplin
• Twelfth Street Rag – Euday L. Bowman
• American Patrol – F. W. Meacham
• Hungarian Rag – Julius Lenzberg
• Syncopated Walk – Irving Berlin
• Ballin’ the Jack – James Henry Burris and Chris Smith
• Alabama Jubilee – Jack Yellen and George L. Cobb

Artist Spotlight: Scott Joplin

Scott Joplin was the central figure in classic ragtime. The Entertainer and Maple Leaf Rag helped establish ragtime as one of America’s first major popular music forms. Joplin wanted ragtime to be taken seriously, not treated only as background dance music. History eventually agreed, though it took longer than it should have.

Broadway, Vaudeville, and George M. Cohan’s America

Broadway and vaudeville gave the era some of its most familiar songs. George M. Cohan was one of the biggest names in American musical theater, and his songs helped create a lively, patriotic, theatrical sound that still feels tied to early 20th-century show business. I’m a Yankee Doodle Dandy, The Grand Old Rag, Give My Regards to Broadway, Harrigan, and Mary’s a Grand Old Name all helped build Cohan’s legend.

These songs were designed for performers, stages, marching energy, and audience response. They were big, direct, and easy to remember. Cohan knew how to make a chorus land, which mattered in theaters where the crowd had to catch the tune quickly.

• I’m a Yankee Doodle Dandy – George M. Cohan
• The Grand Old Rag aka You’re a Grand Old Flag – George M. Cohan
• Give My Regards to Broadway – George M. Cohan
• Harrigan – George M. Cohan
• Mary’s a Grand Old Name – George M. Cohan
• Tell Me Pretty Maiden – from Florodora
• Ah! Sweet Mystery of Life – Victor Herbert
• March of the Toys – Victor Herbert
• You Belong to Me – Victor Herbert and Harry B. Smith
• Fascination – Sigmund Romberg

Artist Spotlight: George M. Cohan

George M. Cohan helped define the sound of American theatrical patriotism. His songs were direct, energetic, and built for crowds. I’m a Yankee Doodle Dandy and You’re a Grand Old Flag became more than show tunes; they became part of American civic and patriotic memory. Cohan wrote like someone marching down Broadway with a flag, a grin, and a very firm deadline.

Patriotic Songs, Military Music, and World War I

Patriotic music was central to the 1900–1919 period, especially during World War I. Over There, written by George M. Cohan in 1917, became one of the defining American songs of the war. It was urgent, catchy, and built to motivate soldiers and civilians alike.

Other military and wartime songs became part of public life through parades, recruitment, training camps, and troop entertainment. It’s a Long, Long Way to Tipperary became closely associated with British soldiers, while K-K-K-Katy, Good Morning, Mr. Zip-Zip-Zip!, and Oh! How I Hate to Get Up in the Morning reflected soldier humor as much as patriotic seriousness. War songs were not all noble speeches; some were complaints with better melodies.

• Over There – George M. Cohan
• It’s a Long, Long Way to Tipperary – Jack Judge and Harry Williams
• K-K-K-Katy – Geoffrey O’Hara
• Oh! How I Hate to Get Up in the Morning – Irving Berlin
• Good Morning, Mr. Zip-Zip-Zip! – Robert Lloyd
• Hinky Dinky Parlay Voo – Edward Rowland
• Hail! Hail! The Gang’s All Here – Theodore F. Morse and others
• Anchors Aweigh – Charles A. Zimmerman
• The Caissons Go Rolling Along – Edmund L. Gruber
• Colonel Bogey March – Kenneth J. Alford
• I Didn’t Raise My Boy to Be a Soldier – Alfred Bryan and Al Piantadosi
• Pack Up Your Troubles in Your Old Kit-Bag – Felix Powell and George Asaf
• Keep the Home Fires Burning – Ivor Novello and Lena Guilbert Ford

Artist Spotlight: Irving Berlin

Irving Berlin was already one of America’s most important songwriters by the 1910s. Alexander’s Ragtime Band helped make him famous, while Oh! How I Hate to Get Up in the Morning showed his ability to turn soldier complaint into comedy. Berlin’s songs could be patriotic, comic, sentimental, or syncopated. He was basically a one-man song factory, but with better lyrics than that phrase deserves.

National Songs, School Songs, and Civic Memory

Some of the most familiar songs from 1900–1919 became part of school programs, civic gatherings, graduations, public ceremonies, and national identity. America the Beautiful became one of the most beloved patriotic songs in the United States. Pomp and Circumstance, composed by Edward Elgar, became nearly inseparable from graduation ceremonies in America.

College songs also mattered. The Whiffenpoof Song and Yale Boola! came from the collegiate singing tradition, where glee clubs and campus groups helped songs travel. Long before viral videos, college singers could still make a tune surprisingly durable.

• America the Beautiful – Katharine Lee Bates and Samuel A. Ward
• Pomp and Circumstance – Edward Elgar
• The Whiffenpoof Song – Yale Whiffenpoofs tradition
• Yale Boola! – Yale song tradition
• Anchors Aweigh – United States Naval Academy tradition
• The Caissons Go Rolling Along – U.S. Army tradition
• American Patrol – F. W. Meacham
• Give Us Just Another Lincoln – early 1900s civic song

Baseball, Public Entertainment, and Everyday Singalongs

Take Me Out to the Ball Game became one of the most famous songs in American sports history, even though lyricist Jack Norworth reportedly had not attended a baseball game when he wrote it. The song’s later seventh-inning stretch tradition made it part of baseball ritual, not just pop music.

Everyday singalong songs also helped define this period. In the Good Old Summer Time, By the Light of the Silvery Moon, Let Me Call You Sweetheart, and Shine On, Harvest Moon became part of American musical memory because people could sing them together. This was music built for porches, parlors, picnics, and public gatherings.

• Take Me Out to the Ball Game – Jack Norworth and Albert Von Tilzer
• In the Good Old Summer Time – George Evans and Ren Shields
• By the Light of the Silvery Moon – Edward Madden and Gus Edwards
• Let Me Call You Sweetheart – Beth Slater Whitson and Leo Friedman
• Shine On, Harvest Moon – Nora Bayes and Jack Norworth
• Put On Your Old Grey Bonnet – Stanley Murphy and Percy Wenrich
• In the Shade of the Old Apple Tree – Harry Williams and Egbert Van Alstyne
• Waltz Around Again Willie – Will D. Cobb and Ren Shields

Irish Songs, Sentimental Ballads, and Immigrant Memory

Irish and Irish American songs were a major part of popular music in this period. Danny Boy, When Irish Eyes Are Smiling, Too-Ra-Loo-Ra-Loo-Ral, McNamara’s Band, The Rose of Tralee, and A Little Bit of Heaven helped preserve Irish identity, nostalgia, humor, and sentiment in American popular song.

These songs traveled well because they worked in homes, theaters, churches, taverns, social clubs, and community gatherings. They could be sung seriously, sweetly, or with a wink, depending on the room and the number of relatives present.

• Danny Boy – Frederic Weatherly and traditional melody
• When Irish Eyes Are Smiling – Chauncey Olcott, George Graff Jr. and Ernest R. Ball
• Too-Ra-Loo-Ra-Loo-Ral (That’s an Irish Lullaby) – James R. Shannon
• McNamara’s Band – Shamus O’Connor and John J. Stamford
• The Rose of Tralee – C. Mordaunt Spencer and Charles W. Glover
• A Little Bit of Heaven – Ernest R. Ball and J. Keirn Brennan
• My Wild Irish Rose – Chauncey Olcott
• Goodbye, Good Luck, God Bless You – J. Keirn Brennan and Ernest R. Ball
• That Old Irish Mother of Mine – William Jerome and Jean Schwartz

Artist Spotlight: Ernest R. Ball

Ernest R. Ball helped shape the sentimental Irish American songbook. When Irish Eyes Are Smiling, A Little Bit of Heaven, and Goodbye, Good Luck, God Bless You show his gift for warm, emotional melody. His songs fit a culture where sheet music, family singing, and ethnic pride often worked together. Ball knew how to make nostalgia rhyme.

Early Blues, Published Blues, and the Road Toward Recorded Blues

The 1910s were important for blues entering the published-song and popular music worlds. W. C. Handy’s The Memphis Blues, St. Louis Blues, and Joe Turner Blues helped bring blues forms into sheet music and wider performance. These songs did not represent the full depth of folk blues traditions, but they helped put blues language into national circulation.

St. Louis Blues became one of the most important American songs of the 20th century, later recorded by Bessie Smith, Louis Armstrong, Billie Holiday, and countless others. It belongs to blues, jazz, popular song, and American cultural memory. That is a pretty strong résumé for one song.

• St. Louis Blues – W. C. Handy
• The Saint Louis Blues – W. C. Handy
• The Memphis Blues – W. C. Handy
• Joe Turner Blues – W. C. Handy
• Blame It on the Blues – Charles L. Cooke and others
• The Darktown Strutters’ Ball – Shelton Brooks
• A Good Man Is Hard to Find – Eddie Green
• I Ain’t Got Nobody – Spencer Williams, Roger Graham and Dave Peyton
• After You’ve Gone – Turner Layton and Henry Creamer
• Some of These Days – Shelton Brooks

Artist Spotlight: W. C. Handy

W. C. Handy became known as the “Father of the Blues” because he helped publish and popularize blues-based compositions for wider audiences. St. Louis Blues and The Memphis Blues were especially important in bringing blues into sheet music, bands, and later recordings. Handy did not invent the blues, but he helped bring it to a national marketplace.

Ragtime, Jazz Roots, and Dance Songs

Dance songs helped connect ragtime, early jazz, and social entertainment. Ballin’ the Jack, Ragtime Cowboy Joe, Alabama Jubilee, Twelfth Street Rag, and The Darktown Strutters’ Ball all belong to the rhythmic, performance-driven side of the era. These songs helped prepare listeners for the jazz and dance-band explosion of the 1920s.

Alexander’s Ragtime Band was especially important. It was not pure ragtime in the Scott Joplin sense, but Irving Berlin’s song helped make “ragtime” a national buzzword. It was one of those songs that helped sell the idea of a style as much as the style itself.

• Alexander’s Ragtime Band – Irving Berlin
• Ragtime Cowboy Joe – Grant Clarke, Lewis F. Muir and Maurice Abrahams
• Ballin’ the Jack – James Henry Burris and Chris Smith
• Twelfth Street Rag – Euday L. Bowman
• Alabama Jubilee – Jack Yellen and George L. Cobb
• The Darktown Strutters’ Ball – Shelton Brooks
• Syncopated Walk – Irving Berlin
• Ja-Da – Bob Carleton
• Tiger Rag – Original Dixieland Jazz Band

Classical Music, Ceremonial Music, and Popular Recognition

Several pieces from 1900–1919 were not pop songs in the Tin Pan Alley sense, but they became familiar to broad audiences through concerts, ceremonies, schools, films, and public culture. Pomp and Circumstance became inseparable from graduation ceremonies in the United States. The Rite of Spring became one of the most famous and controversial classical premieres of the 20th century.

Flight of the Bumblebee, Un Bel Di from Madame Butterfly, and Rachmaninoff’s Piano Concerto No. 2 also gained wide recognition over time. These works remind us that popular memory is not limited to pop charts. Sometimes a melody becomes famous because it keeps appearing in concerts, cartoons, movies, ceremonies, and music lessons where nervous students stare at the piano like it owes them money.

• Pomp and Circumstance – Edward Elgar
• The Rite of Spring – Igor Stravinsky
• Flight of the Bumblebee – Nikolai Rimsky-Korsakov
• Un Bel Di from Madame Butterfly – Giacomo Puccini
• Piano Concerto No. 2 – Sergei Rachmaninoff
• Melody of Love – H. Engelmann
• Fascination – F. D. Marchetti / popular adaptations
• The Glow-Worm – Paul Lincke
• Hiawatha (His Song to Minnehaha) – Neil Moret

Novelty Songs, Comic Records, and Early Pop Humor

Novelty songs were a major part of early 20th-century popular music. Songs like Beans! Beans!! Beans!!!, The Aba Daba Honeymoon, Alcoholic Blues, Good Morning, Mr. Zip-Zip-Zip!, and Uncle Josh in Society show how comedy, character routines, and topical humor worked in the pre-radio era.

Comedy records were also important. Uncle Josh in Society came from the early recorded comedy tradition, where spoken-word characters and sketches competed with songs for public attention. Before sitcoms and sketch shows, the phonograph could still bring a comic character into the room.

• The Aba Daba Honeymoon – Arthur Fields and Walter Donovan
• Beans! Beans!! Beans!!! – Elmer Bowman and Chris Smith
• Alcoholic Blues – Edward Laska and Albert Von Tilzer
• Good Morning, Mr. Zip-Zip-Zip! – Robert Lloyd
• Uncle Josh in Society – Cal Stewart
• Bye, Bye My Honey – Billy Golden
• Waltz Around Again Willie – Will D. Cobb and Ren Shields
• Casey Jones – T. Lawrence Seibert and Eddie Newton
• In My Merry Oldsmobile – Vincent P. Bryan and Gus Edwards

Travel, Technology, and Modern Life Songs

The early 1900s were fascinated by motion, machines, travel, and modern life. In My Merry Oldsmobile turned the automobile into a romantic novelty. Casey Jones and The Caissons Go Rolling Along carried transportation and movement into song. On the Road to Mandalay reflected the era’s taste for faraway settings, though often through a colonial lens that should be understood as part of its time.

Popular songs often worked like postcards, headlines, or advertisements. They sold romance, travel, social identity, and modern excitement in three minutes or less. That job description still sounds familiar.

• In My Merry Oldsmobile – Vincent P. Bryan and Gus Edwards
• Casey Jones – T. Lawrence Seibert and Eddie Newton
• The Caissons Go Rolling Along – Edmund L. Gruber
• On the Road to Mandalay – Rudyard Kipling and Oley Speaks
• Meet Me in St. Louis, Louis – Kerry Mills and Andrew B. Sterling
• On a Sunday Afternoon – early 1900s popular song
• There’s a Broken Heart for Every Light on Broadway – Howard Johnson and Fred Fisher

Women Songwriters, Performers, and Stage Voices

Women helped shape this era as performers, writers, and stage personalities. Nora Bayes co-wrote and popularized Shine On, Harvest Moon with Jack Norworth. Rida Johnson Young wrote lyrics and librettos connected to Victor Herbert’s theatrical world, including Ah! Sweet Mystery of Life. Women performers also helped spread sentimental songs, comic numbers, and vaudeville hits through theater and recordings.

Many women’s contributions were under-credited or filtered through male publishers, composers, and producers, but their voices and writing mattered. Early popular music was not only a parade of male songwriters in stiff collars. The women were there too, and often they had the better punchlines.

• Shine On, Harvest Moon – Nora Bayes and Jack Norworth
• Ah! Sweet Mystery of Life – Rida Johnson Young and Victor Herbert
• By the Light of the Silvery Moon – sung by many stage performers
• Let Me Call You Sweetheart – Beth Slater Whitson and Leo Friedman
• I’m Always Chasing Rainbows – from Oh, Look!
• A Good Man Is Hard to Find – later associated with women blues and jazz singers

More Must-Have Songs from 1900–1919

Several songs beyond the original list also belong in the cultural soundtrack of the era because they shaped ragtime, early jazz, blues, Broadway, wartime music, or long-term pop memory.

• Maple Leaf Rag – Scott Joplin
• Some of These Days – Shelton Brooks
• After You’ve Gone – Turner Layton and Henry Creamer
• Tiger Rag – Original Dixieland Jazz Band
• Ja-Da – Bob Carleton
• Smiles – J. Will Callahan and Lee S. Roberts
• Pack Up Your Troubles in Your Old Kit-Bag – Felix Powell and George Asaf
• Keep the Home Fires Burning – Ivor Novello and Lena Guilbert Ford
• Rock-a-Bye Your Baby with a Dixie Melody – Jean Schwartz, Sam M. Lewis and Joe Young
• They Didn’t Believe Me – Jerome Kern and Herbert Reynolds
• Poor Butterfly – Raymond Hubbell and John Golden
• Hesitation Blues – traditional / W. C. Handy-associated versions

Why 1900–1919 Still Matters

The music of 1900–1919 matters because it built many of the habits that shaped American popular music for the next century. This was the age of sheet music sales, vaudeville stars, Broadway composers, early phonograph records, home pianos, marching bands, parlor songs, ragtime rhythms, wartime choruses, and blues entering the commercial marketplace.

Several songs from this era became permanent cultural shorthand. Take Me Out to the Ball Game means baseball. Pomp and Circumstance means graduation. Over There means World War I. America the Beautiful means civic patriotism. St. Louis Blues points toward blues and jazz. The Entertainer points toward ragtime and later film nostalgia. These songs did not just fill time. They became part of how people remember events, places, institutions, and eras.

Overlap note: many songs from 1900–1919 naturally fit more than one style. Alexander’s Ragtime Band is Tin Pan Alley, ragtime branding, Broadway energy, and pop marketing. St. Louis Blues is blues, jazz, sheet music, and later recording history. Over There is patriotic music, World War I history, and George M. Cohan theater craft. Take Me Out to the Ball Game is popular song, baseball ritual, and American public-memory glue. This era had no commercial radio machine yet, but it still produced songs people kept singing for more than a hundred years.

PCM’s Top 100 Songs of the 1900s:

1. I’m a Yankee Doodle Dandy – 1904 (by George M. Cohan)
2. America the Beautiful – 1910
3. Danny Boy – 1913
4. Take Me Out to the Ball Game – 1908 (by Jack Norworth & Albert Von Tilzer)
5. Pomp and Circumstance – 1902 (by Edward Elgar)
6. The Grand Old Rag aka You’re a Grand Old Flag – 1906 (by George M. Cohan)
7. When Irish Eyes Are Smiling – 1912 (by Chauncey Olcott, George Graff Jr. & Ernest R. Ball)
8. Daddy’s Little Girl – 1905 (by Edward Madden & Theodore F. Morse)
9. The Bells of St. Mary’s – 1917 (by Douglas Furber & A. Emmett Adams)
10. Give My Regards to Broadway – 1904 (by George M. Cohan)
11. Swanee – 1919
12. Too-Ra-Loo-Ra-Loo-Ral (That’s an Irish Lullaby) – 1913 (by James R. Shannon)
13. I Ain’t Got Nobody – 1916 (by Roger Graham, Dave Peyton & Spencer Williams)
14. I Want to Be in Dixie (I’m Going Back to Dixie) – 1911 (by Irving Berlin & Ted Snyder)
15. The Entertainer – 1902 (by Scott Joplin)
16. Strike Up the Band (Here Comes a Sailor) – 1900
17. Anchors Aweigh – 1906 (by Alfred Hart Miles, R. Lovell & Charles A. Zimmerman)
18. The Beer That Made Milwaukee Famous – 1903 (by Dan McAvoy)
19. Colonel Bogey March – 1914 (by Kenneth J. Alford)
20. Melody of Love – 1903 (by Tom Glazer & H. Engelmann)
21. Flight of the Bumblebee – 1900 (by Nikolai Rimsky-Korsakov)
22. The Rite of Spring – 1913 (by Igor Stravinsky)
23. Over There – 1917 (by George M. Cohan)
24. Yale Boola! – 1901
25. Hinky Dinky Parlay Voo – 1919 (by Edward Rowland)
26. March of the Toys – 1903 (by Victor Herbert, heard in Babes in Toyland)
27. Frankie and Johnny – 1912
28. Dardanella – 1919 (by Fred Fisher, Felix Bernard & Johnny S. Black)
29. You Belong to Me – 1916 (by Harry B. Smith & Victor Herbert)
30. Alexander’s Ragtime Band – 1911
31. Hail! Hail! The Gang’s All Here – 1917 (by D. A. Esrom, Theodore F. Morse & Arthur Sullivan)
32. Fascination – 1915 (by Harold Atteridge & Sigmund Romberg)
33. McNamara’s Band – 1917 (by John J. Stamford & Shamus O’Connor)
34. Peg o’ My Heart – 1913 (by Alfred Bryan & Fred Fisher)
35. St. Louis Blues – 1914 (by W. C. Handy)
36. The Glow-Worm – 1902 (by Lilla Cayley Robinson, Heinz Bolten-Backers & Paul Lincke)
37. Scott Joplin’s New Rag – 1912 (by Scott Joplin)
38. Hail! Hail! The Gang’s All Here – 1917
39. Put On Your Old Grey Bonnet – 1909 (by Stanley Murphy & Percy Wenrich)
40. Bye, Bye My Honey – Billy Golden (1911)
41. Joe Turner Blues – 1915 (by Walter Hirsch & W. C. Handy)
42. It’s a Long, Long Way to Tipperary – 1912
43. Ragtime Cowboy Joe – 1912 (by Grant Clarke, Lewis F. Muir & Maurice Abrahams)
44. Oh! How I Hate to Get Up in the Morning – 1918 (by Irving Berlin)
45. The Whiffenpoof Song – 1909 (by Meade Minnigerode, George S. Pomeroy & Tod B. Galloway)
46. Alabama Jubilee – 1915 (by Jack Yellen & George L. Cobb)
47. The Darktown Strutters’ Ball – 1916 (by Shelton Brooks)
48. Harrigan – 1907 (by George M. Cohan)
49. Bill Bailey, Won’t You Please Come Home – 1902
50. Let Me Call You Sweetheart – 1910
51. Keep on the Sunny Side – 1906 (by Jack Drislane & Theodore F. Morse)
52. Because – 1902
53. Hiawatha (His Song to Minnehaha) – 1903
54. Ida! Sweet as Apple Cider – 1903 (by Eddie Leonard & Eddie Munson)
55. The Aba Daba Honeymoon – 1914 (by Arthur Fields & Walter Donovan)
56. Play a Simple Melody – 1914 (by Irving Berlin)
57. Ah! Sweet Mystery of Life – 1910 (by Rida Johnson Young & Victor Herbert)
58. Ballin’ the Jack – 1913 (by James Henry Burris & Chris Smith)
59. The Memphis Blues – 1912
60. American Patrol – 1901
61. On a Sunday Afternoon – 1902
62. The Saint Louis Blues – 1914
63. The Rose of Tralee – 1912 (by C. Mordaunt Spencer & Charles W. Glover)
64. K-K-K-Katy – 1918 (by Geoffrey O’Hara)
65. There’s a Broken Heart for Every Light on Broadway – 1915 (by Howard Johnson & Fred Fisher)
66. Syncopated Walk – 1914 (by Irving Berlin)
67. My Melancholy Baby – 1912 (by George A. Norton & Ernie Burnett)
68. Meet Me in St. Louis, Louis – 1904
69. Give Us Just Another Lincoln – 1900
70. I Wonder Who’s Kissing Her Now – 1909 (by Will M. Hough, Frank R. Adams, Joseph E. Howard & Harold Orlob)
71. In the Good Old Summer Time – 1902
72. Twelfth Street Rag – 1914 (by Euday L. Bowman)
73. A Little Bit of Heaven – 1915
74. Casey Jones – 1909 (by T. Lawrence Seibert & Eddie Newton)
75. Blame It on the Blues – 1914
76. By the Light of the Silvery Moon – 1909 (by Edward Madden & Gus Edwards)
77. Waltz Around Again Willie – 1906
78. Alcoholic Blues – 1919 (by Edward Laska & Albert Von Tilzer)
79. I Didn’t Raise My Boy to Be a Soldier – 1915 (by Alfred Bryan & Al Piantadosi)
80. Shine On, Harvest Moon – 1907 (by Nora Bayes & Jack Norworth)
81. I Can’t Tell Why I Love You but I Do – 1900
82. Hungarian Rag – 1913 (by Julius Lenzberg)
83. In My Merry Oldsmobile – 1905 (by Vincent P. Bryan & Gus Edwards)
84. And Then – 1913 (by Alfred Bryan & Herman Paley)
85. Good Morning, Mr. Zip-Zip-Zip! – 1918
86. Goodbye, Good Luck, God Bless You – 1916 (by J. Keirn Brennan & Ernest R. Ball)
87. Mary’s a Grand Old Name – 1905 (from the musical play Forty-Five Minutes from Broadway)
88. Un Bel Di from Madame Butterfly – 1904 (by Puccini)
89. My Gal Sal – 1905
90. Concerto for Piano No. 2 – 1901 (by Rachmaninoff)
91. Topsy Song – 1910
92. I’m Always Chasing Rainbows – 1918 (from the musical comedy Oh, Look!)
93. On the Road to Mandalay – 1907 (by Rudyard Kipling & Oley Speaks)
94. Missouri Waltz (Hush-a-Bye, Ma Baby) – 1914
95. In the Shade of the Old Apple Tree – 1905
96. Beans! Beans!! Beans!!! – 1912 (by Elmer Bowman & Chris Smith)
97. Tell Me Pretty Maiden – 1900 (featured in Florodora)
98. A Good Man Is Hard to Find – 1919
99. The Caissons Go Rolling Along – 1906 (by Edmund L. Gruber)
100. Uncle Josh in Society – 1909