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Collective Difference: the Pan-American Association of Composers and Pan- American Ideology in Music, 1925-1945 Stephanie N

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Collective Difference: the Pan-American Association of Composers and Pan- American Ideology in Music, 1925-1945 Stephanie N Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 Collective Difference: The Pan-American Association of Composers and Pan- American Ideology in Music, 1925-1945 Stephanie N. Stallings Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC COLLECTIVE DIFFERENCE: THE PAN-AMERICAN ASSOCIATION OF COMPOSERS AND PAN-AMERICAN IDEOLOGY IN MUSIC, 1925-1945 By STEPHANIE N. STALLINGS A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2009 Copyright © 2009 Stephanie N. Stallings All Rights Reserved The members of the Committee approve the Dissertation of Stephanie N. Stallings defended on April 20, 2009. ______________________________ Denise Von Glahn Professor Directing Dissertation ______________________________ Evan Jones Outside Committee Member ______________________________ Charles Brewer Committee Member ______________________________ Douglass Seaton Committee Member The Graduate School has verified and approved the above named committee members. ii ACKNOWLEDGMENTS I would like to express my warmest thanks to my dissertation advisor, Denise Von Glahn. Without her excellent guidance, steadfast moral support, thoughtfulness, and creativity, this dissertation never would have come to fruition. I am also grateful to the rest of my dissertation committee, Charles Brewer, Evan Jones, and Douglass Seaton, for their wisdom. Similarly, each member of the Musicology faculty at Florida State University has provided me with a different model for scholarly excellence in “capital M Musicology.” The FSU Society for Musicology has been a wonderful support system throughout my tenure at Florida State. Thank you to all of my colleagues who serve on its committees. This dissertation was completed with financial support from the Florida State University College of Music, the Curtis Mayes Foundation, the Presser Foundation, and Malcolm Brown, who generously donated funding for FSU’s annual Musicology student paper award. There are also many individuals who contributed to this project. I would like to thank George Boziwick, Chief of the Music Division at The New York Public Library for the Performing Arts, for his help navigating the Cowell Papers. Robin Rausch and Karen Moses, Music Specialists at the Library of Congress, were also cooperative and kind. Electra Slonimsky Yourke generously allowed me to photocopy from her father’s collection at the Library of Congress. Richard Teitelbaum of the David and Sylvia Teitelbaum Fund allowed me to reproduce materials from the Cowell Collection at the NYPL. The staff of the Fleisher Collection of Orchestral Music at the Free Library of Philadelphia has provided me with much assistance, especially Curator Kile Smith, Librarian Stuart Serio, and Archival Preservationist Gary Galván. Robert Falvo, Assistant Professor of percussion at Appalachian State University, shared his ensemble’s excellent recording of José Ardévol’s Estudio. Carmen Hendershott, Reference Librarian at the New School, found information for me in the New School Catalogs. I can only imagine how much time Velma Smith and Sara Nodine spent processing my interlibrary loans. iii Amy Dankowski, an archivist at the Cleveland Orchestra, sent me programs. I would also like to express my gratitude to other American music scholars whose work has been helpful to me in the process of writing this dissertation: Jacqueline Avila, (for sharing a rare recording of Silvestre Revueltas’ music), Gary Galván, Christina Taylor Gibson, Eduardo Herrera, Carol Hess, Ana Alonso-Minutti, Alejandro Madrid, Carol Oja, Anna Ochs, Robert Parker, Deane Root, Leonora Saavedra, and Deborah Schwartz-Kates. Tatiana Flores deserves special thanks for graciously hosting me in New York, for showing me a great time in Harlem the night Barack Obama was elected, and for the invaluable sources I found on her bookshelves. The friendship and support of Laura Moore Pruett, Sean Parr, John Spilker, Janine Tiffe, and Emily Swift Gertsch have been sources of strength throughout my career at FSU. My lunch meetings with John, who is completing a dissertation that reassesses Henry Cowell’s contributions to dissonant counterpoint, gave me fresh perspectives on Cowell’s work and allowed me to blow off steam. Walks with Alegra Toccata always cleared my mind and cheered me up. My deepest thanks go to my parents, Everett and Marian Stallings, who continue to provide not only constant support for my every endeavor but love and encouragement that keep me afloat. Sean, Celeste, Carson and Riley Stallings never fail to make me laugh. León García lovingly persuades me that I deserve to succeed. It is largely due to his daily encouragement that this project came to completion. iv TABLE OF CONTENTS List of Figures ..........................................................................................................vii List of Musical Examples ............................................................................................ix Abstract ......................................................................................................................xii INTRODUCTION: THE PAN-AMERICAN ERA (1925-45) .........................................1 1. PAN-AMERICANISM IN 1930s PERCUSSION ENSEMBLE MUSIC ...................11 Ultramodernism, Neo-primitivism, and New Uses of Percussion in Europe .......14 Amerindian Themes in American Music .............................................................16 Percussion Music in the Americas .......................................................................19 William Russell, Percussion Studies in Cuban Rhythms (1935)...........................22 Amadeo Roldán, Rítmicas Nos. 5 and 6 (1930) ...................................................26 Edgard Varèse, Ionisation (1929-31) ...................................................................31 Henry Cowell, Ostinato Pianissimo (1934) .........................................................41 William Russell, Fugue for Eight Percussion Instruments (1931) ......................45 José Ardévol, Estudio en forma de preludio y fuga (1933) .................................50 2. ORGANIZING THE HEMISPHERE: THE PAN-AMERICAN ASSOCIATION OF COMPOSERS ..................................................................................................................61 Early Organizing Efforts and the First Two Concerts, 1928-30 ..........................65 The Concerts in New York and Cuba, 1931-34 ...................................................80 3. COLLECTIVE DIFFERENCE: THE PAN-AMERICAN ASSOCIATION ABROAD ............................................................................................................................................93 Paris, 6 and 11 June 1931 ....................................................................................95 Paris, 21 and 25 February 1932 .........................................................................108 Berlin, 5 and 10 March 1932 .............................................................................113 Other European Concerts 1931-32 Varèse’s Return to New York and the Last Two Concerts, 1934 ......................126 4. ESTA BOCA ES LA MIA: JAZZ, BLUES, AND POPULAR FRONT PAN- AMERICANISM.............................................................................................................133 Blues and Son: A Pan-American Literary and Musical Exchange ....................136 Alejandro García Caturla, “Bito manué” (1930).....................................141 Amadeo Roldán, Motivos de son, “Sigue” (1931) .................................145 Mexico Sings the Blues .....................................................................................150 v Silvestre Revueltas, “Canto de una muchacha negra” (1938) ...............151 Carlos Chávez, “North Carolina Blues” (1942) ....................................155 EPILOGUE: FROM PAN-AMERICAN TO INTER-AMERICAN...............................167 APPENDIX A. CONCERTS OF THE PAN-AMERICAN ASSOCIATION OF COMPOSERS ................................................................................................................171 APPENDIX B. LIST OF EXTANT CONCERT PROGRAMS AND REVIEWS OF THE PAN-AMERICAN ASSOCIATION OF COMPOSERS ..............................................181 BIBLIOGRAPHY ...........................................................................................................186 BIOGRAPHICAL SKETCH .........................................................................................199 vi LIST OF FIGURES FIGURE I.1. Pan-American Exposition Official Seal by artist Raphael Beck....................7 FIGURE 1.1. Some Percussion Ensemble works written between 1929 and 1942...........12 FIGURE 1.2. Diagram of a teponaztli. Daniel Castaneda and Vicente T. Mendoza, Instrumental precortesiano (Mexico City: Museo Nacional de Arqueologia, Historia y Etnografia, 1933; reprint Mexico City: UNAM, 1991), unnumbered insert.....................20 FIGURE 1.3. Henry Cowell, Ostinato Pianissimo. Diagram of each ostinato..................44 FIGURE 1.4. William Russell, Fugue. Form diagram.....................................................49 FIGURE 1.5. Estudio en forma de preludio y fuga, instrument groups (voices) in the fugue and the measures in which they appear...................................................................55
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