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The banjo, although popular, carried low-class associations from its role in blackface minstrel shows, medicine shows, tent shows, and variety shows or vaudeville.[37] There was a push in the 19th century banjo to bring the instrument into "respectability."[37] Musicians such as William A. Huntley made an effort to "elevate" the instrument or make it more "artistic," by "bringing it to a more sophisticated level of technique and repertoire based on European standards."[38] Huntley may have been the first white performer to successfully make the transition from performing in blackface to being himself on stage, noted by the Boston Herald in November 1884.[38] He was supported by another former blackface performer, Samuel Swaim Stewart, in his corporate magazine that popularized highly talented professionals.[39]
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While five-string banjos are traditionally played with either fingerpicks or the fingers themselves, tenor banjos and plectrum banjos are played with a pick, either to strum full chords, or most commonly in Irish traditional music, play single-note melodies.
The size of the five-string banjo is largely standardized, but smaller and larger sizes exist, including the long-neck or "Seeger neck" variation designed by Pete Seeger. Petite variations on the five-string banjo have been available since the 1890s. S.S. Stewart introduced the banjeaurine, tuned one fourth above a standard five-string. Piccolo banjos are smaller, and tuned one octave above a standard banjo. Between these sizes and standard lies the A-scale banjo, which is two frets shorter and usually tuned one full step above standard tunings. Many makers have produced banjos of other scale lengths, and with various innovations.