stylistic:style_transfer, structural:reformatting
Songwriting methods

According to Saul Bornstein (a.k.a. Sol Bourne, Saul Bourne), Berlin's publishing company manager, "It was a ritual for Berlin to write a complete song, words and music, every day." Berlin said that he "did not believe in inspiration," and felt that although he might be gifted in certain areas, his most successful compositions were the "result of work". He said that he did most of his work under pressure. He would typically begin writing after dinner and continue until 4 or 5 in the morning. "Each day I would attend rehearsals," he said, "and at night write another song and bring it down the next day."

Not always certain about his own writing abilities, he once asked a songwriter friend, Victor Herbert, whether he should study composition. "You have a natural gift for words and music," Mr. Herbert told him. "Learning theory might help you a little, but it could cramp your style." Berlin took his advice. Herbert later became a moving force behind the creation of ASCAP, the American Society of Composers, Authors and Publishers. In 1914, Berlin joined him as a charter member of the organization that has protected the royalties of composers and writers ever since. In 1920, Irving Berlin became a member of SACEM, the French Society of Authors, Composers, and Publishers.

In later years, Berlin emphasized his conviction, saying that "it's the lyrics that makes a song a hit, although the tune, of course, is what makes it last." He played almost entirely in the key of F sharp so that he could stay on the black keys and owned three transposing pianos so as to change keys by moving a lever. Though Berlin eventually learned how to produce written music, he never changed his method of dictating songs to a "musical secretary".

As a result, Wilder says that many admirers of the music of Jerome Kern, Richard Rodgers and Cole Porter were unlikely to consider Berlin's work in the same category because they forgot or never realized that Berlin wrote many popular tunes, such as "Soft Lights and Sweet Music", "Supper Time", and "Cheek to Cheek". Some are even more confused because he also wrote more romantic melodies, such as "What'll I Do?" and "Always". Wilder adds that "in his lyrics as in his melodies, Berlin reveals a constant awareness of the world around him: the pulse of the times, the society in which his is functioning. There is nothing of the hothouse about his work, urban though it may be."