ARTICLES Survivor of the Music Business ANNE PHILLIPS I was a kid the night that I woke and cried a new lyric to “Lullaby of Birdland” re- reading for Singers.” Developing your tal- “Take me to New ork City, please let’s ride cently that tells it all: ent is more important than aiming for fame! To New ork,” I remember Birdland in its day My career took a step forward when I That was my nirvana. Where the cats came to play heard about singing demonstration records A lyric by Anne Phillips to a tune Down the steps to Birdland for songwriters. The writers would write a by Dextor Gordon Into a cavern of jazz, evermore unsurpassed. song and then take it to a publisher who, if es, my mother heard me sobbing and ran (See www.annephillps.com for the full lyrics he liked it, would pay for a “demo.” The up the stairs. “All my friends have been to and recording with Marian McPartland.) publisher would then submit it to an artist, New ork but you only take me to Phila- hoping the performer would record it. In an I hadn’t been in New ork long before hour, with piano, bass, drums, guitar, lead delphia” I bawled. New ork was not that I met a woman who booked music into far from my home in Pennsylvania. It took singer and back-up, we’d make a beautiful clubs and, because I played piano and sang, recording. I made a little demo of my own a few more years but I nally got there. I I could workno waiting tables for me. started as a singer and went on to become performance and took it to the studio where Almost every restaurant had a piano and most of them were done. A few days later I a composer, an arranger, a lyricist, a pro- mike set upwe didn’t have to lug sound ducer, an educator, in short: a Survivor of got a call from the studio asking if I could systems (or pianos) to a job. Six hours a sing obbligatos. I wasn’t a soprano but there the Music Business! I have covered a lot night, from 9 to 3 or 10 to (yes, AM) of territory and I’m not done yet. Here’s were some high notes on my demo. I said for $20 a night, less 10% for the agent. I “yes.” That is Survival Element #3: Daring what’s coming up: played dives and I played chic night clubs November: That “Certain Age,” an to do something you are scared to try. like Number One Fifth Avenue. For three The experience of making demos evening of my short operas about aging weeks, I played the Beverly Hotel opposite with grace, courage, and humor. December: taught me more than I could have ever a young man named Bobby Short who was learned in school. In an hour I’d sing the Bending Towards the Light ‒ A Jazz Nativ- to become a famous cabaret performer. I ity, a jazz opera. 2018 events: JACAB song, write out the back-up part and then spent every break madly scribbling down put on ear phones and harmonize with my- Festival in etchikan, Alaska, a two-week lyrics of songs I’d never heard. I played at residence teaching, coaching, and perform- self (being aware of every breath so my en- the bar in the ByLine Room when the great trances would be perfectly together). And ing in January. What Are We Doing To Our Mabel Mercer held court in the back room. World? a co-production of the Duke Uni- the pay was a little better than six hours a What a lesson in lyric interpretation She night in a club. Some of the songwriters versity Nicholas School of Environment could sing the oldest standard and make and the University Chapel. Visiting Artist I did demos for were a major part of pop you feel like you’d never heard it before music history. A memorable moment: Burt at North Carolina State University. Even Frank Sinatra said he learned about Growing up in suburban Wyomissing, Bacharach coming into the studio and ex- interpretation from her. citedly sliding onto the piano bench say- Pennsylvania, the only jazz I had been ex- Writing this article has given me the posed to was my aunt’s ’0s big band record ing, “Hey, Annie, I just got a movie song, opportunity to think about and pinpoint the listen: Hey, little girl” collection. That was until my senior year in actions that led to my having such a long high school when I serendipitously fell into It was a demo heard by Roulette Re- career. The rst important element, Surviv- cords that gave me the opportunity to re- a very “hip” vocal group with grown-up al Element #1: Recognize and be proud of jazz musicians My direction was set. cord my rst album: Born to Be Blue. That your talent. I cannot take credit for having was 1959 and the beginning of the rock I went to Oberlin College, where I had what jazz musicians call “ears.” As a child, my own radio show singing and playing era but Born to Be Blue got great reviews I could play almost any new song I heard for example, Billboard Special Merit the piano I sang with the big band and was on the radio. My parents were not in the the “other act” on the famous “Brubeck Spotlight, April 1960: “Miss Phillips has music business, but they let me go to New a willowy, wistful sound.Her phrasing at Oberlin” concert. After a year at New ork to “get it out of my system.” Survival England Conservatory in what they then is goodand her approach doesn’t invite Element #2: Be as valuable a singer/mu- comparison. A talent to watch.” Because called “the Popular Department,” I nally sician as you can be! For me that meant headed to New ork. The Studio Club was rock had begun there was no second al- sight-reading music If I hadn’t been able bum. Curiously, when I re-released Born to a safe WCA residence for young ladies to read music well, I would never have got- on the East Side, where I was told I should Be Blue a few years ago it received great ten further than performing in clubs. I had reviews all over again, even in People be. It was the fall of 195, and there was taken piano lessons so of course I could jazzlots of jazz. There was the Hickory Magazine (February 2001). I love what re- read music, but when I got to N and began viewer Steve Dougherty wrote: “Imagine: House, where jazz pianists Billy Taylor to work with singers who could sight-read and Marian McPartland played, the Vil- Britney and the Backstreet Boys wake up just about anything, I strived to improve my tomorrow to nd that a brand-new genre of lage Vanguard, and Caf Bohemia in the skills. Later, when I taught in the Jazz De- village, and of course, Birdland. I wrote music has swept them from the pop charts, partment at NU, I started a class, “Sight- rendering them over-night has-beens. Im-

Phillips, Survivor of the Music Business 1 possible or wishful thinking Well, that’s he later billed himself in TV show cred- take, the door burst open and six New ork precisely what happened to a generation of its. This was the Ray Charles of The Ray remen came charging in. “ou’ve got to breathy balladeers whose dominance of the Charles Singers. Television also was LIVE. wait” shouted Bob, “ou’ve got to wait for 1950’s hit parade ended abruptly with the And what energy that had Besides singing this take” The electric guitarist glanced up coming of rock and roll. This reissue is a with the Ray Charles Singers on the Perry fearfully at the water dripping down on him lovely reminder of how dreamy pop once Como Show, “Dream along with me,” I from the ceiling aboveand the take began was. Bottom Line: Sublime.” It is now did many “Specials” directed by the new And nished While the remen waited called a “classic” and sells on my own la- young blood like Joe Papp. Rehearsals And all that background (also Survival bel, on CDBaby. for those shows were crazy Sometimes Element 7) enabled me to be ready for the “Albums” were done in three three- we never made it through the whole hour change in the music for commercials—ac- hour sessions, four tunes on each session. show even by dress rehearsal time A typi- tually, be ready to help make that change. We sang with the world’s greatest musicians, cal schedule: The advertising agencies, for many years, all of us in the studio together. No separate Day 1. Singer’s call (typically four had their own music writers on sta. Then tracks, no “pitch correction”—just live. women and four men), three-hour run they began to go to outside “music sup- When I was planning my second al- through of the music. pliers.” Most of the people who had those bum, Noe Noe, my arrangements of Day 2. Rehearsal with orchestra plus music houses came from the swing era and Christmas Carols for twenty-ve a cappel- costume call. that’s what advertising “jingles” sounded la singers, Survival Element #4: Be open Day 3. Blocking on stage in the the- like. The singers who did jingles were not to good suggestions, came into play. My ater, usually with eight dancers. a part of the record date crowd—they were friend from demo days, Malcolm Dodds, Day 4. Start early: make-up, hair, cos- too busy singing jingles and, with residu- who did all the Johnny Mathis demos and tumes, run-through, dress, show. als, making a lot of money! I approached was conducting for me, told me about When rock and roll came in and the a couple of the jingle houses with the idea some good singers and asked if we could music on the record dates began to change, of writing and producing spots with a rock use them. That opened a whole new world I was lucky I had done so many demos feel, the rationale being that the people they of outstanding New ork singers to me, Survival element #7: Take advantage of were trying to reach, often those in their singers who weren’t doing the TV shows your experience. I sought out the session twenties and thirties, had grown up with and record dates: African-American sing- singers who were familiar with the sound that music. I was told “maybe” for a few ers who were extraordinary musicians as and feel of the music, and soon I was con- teen-age products but not across the board. well as excellent singers. They all contin- tracting and singing on the record dates for Then I met Scott Muni, a top disc jock- ued to be a major part of my musical life in most of the arrangers who were making the ey who arranged a meeting with the adver- the years ahead. rock-infuenced recordings. I cannot be- tising agency for Pepsi. And that brings me Noe Noe was released on the Stereo- gin to describe the vitality and the musical to Survival Element #8: Jump on an oppor- Craft label, a part of Bell Records. It received and personal camaraderie on a record date tunity. The swing-style Pepsi commercial in marvelous reviews for example, in Cashbox when everyone on the recording was pres- the early 60s was “Come Alive, ou’re in (November 1960): “of the highest artistic ent AT THE SAME TIME, IN THE SAME the Pepsi Generation.” I wrote and recorded order.” But Bell closed its classical Stereo- PLACE to make music TOGETHER There three rock versions of “Come Alive.” The Craft Label the next year, and the record- was magic in the room when all the people agency asked us to re-record them with star ing’s distribution ended. Survival Element were aware that they had just made an ex- performers. I arranged and produced the ads #5: Don’t give up! I had a copy of the tape traordinary recording, when the combined for what they called their “outh Market.” release they had made. Forty years later it is musicianship and enthusiasm had produced That was the start of my writing and produc- a CD on my label available on CDBaby, and an unforgettable performance. The result is ing commercials. (See Figure 1.) the arrangements are for sale on my website not the same with a digitally produced track Survival element #6: Almost never and each group is recorded separately. say no. I was eight months pregnant and a In the mid-sixties, nearly every day of session with Carole ing and her husband, the week, we had the wonderful experience Gerry Gon, went over-time until the wee of walking into a studio, being handed the hours. This was the rst commercial re- music, and recording with the world’s great- cording Carole made as a singer her previ- est instrumentalists and singers. We rarely ous singing was only on demos. ou can knew who the artist was going to be we hear me singing ALL the back-up voices performed with Mahalia Jackson, Jerome on It Might as Well Rain Until September. Hines, Sammy Davis Jr., Bobby Vinton, I went directly from the studio to Valley Aretha Franklin, Leslie Gore, and so many Hospital in Ridgewood, NJ in what fortu- others. And there were unforgettable times nately turned out to be false labor! My son such as when we were doing a session for Alec starts his bio with, “It was a dark and Bob Crewe and arranger Charlie Calello rainy night on a Carole ing session.” (who wrote all the Four Seasons’ hits). During this time, I also auditioned for There was a re in the hotel upstairs. Just Fig. 1. Anne Phillips listening to the Ray Charles— “the other Ray Charles” as before a take, and it was going to be THE playback of a commercial.

2 IAWM Journal Volume 23, No. 2 2017 At this point, Survival Element #3 But the most important thing that has blending of opera and jazzabsolutely (dare to do something you are scared to kept me going for the last thirty, yes, thirty truthful to both genres.” (See Figure 2.) try) also becomes signicant. I would never years, is Bending Towards the Light ‒ a We have performed it every December have stepped out and said I could orches- Jazz Nativit. That goes under Survivor El- in New ork, with the most incredible jazz trate But my two partners in the jingle ement 3 (when you are scared to try). The artists (all of them playing for just union business, my husband and a sales rep, told Rev. John Garcia Gensel, the “Jazz Minis- scale). We started with Dave Brubeck (of the agency I could. I was terried Thanks ter” as he was named, called me and said course), Lionel Hampton, Tito Puente, and to Henry Mancini’s book on orchestration, he had suggested me as the writer of “A now with the artists of today including when the next Pepsi campaign, “Taste That Jazz Nativity.” I could only think, “Why “ing” clarinetist Pauito DeRivera, a fe- Bests The Others Cold, Pepsi Pours It On,” me” In the summer of 195, I wrote and male ing (our “uing”), trumpeter Ingrid began, I wrote the song and the arrange- arranged it as a combination of standard Jensen, and the nest opera and jazz sing- ments for all the stars who sang it: Linda carols: original music with the through-line ers. Audiences return to see it every year. Ronstadt, Wilson Pickett, the Tops, etc. The of the biblical story shared by classical and We have performed the show in other TV commercials were produced by a young jazz singers. Charles uralt (the famous cities also; it has continued to receive rave lad at the agency, Jerry Bruckheimer, now journalist) became our host, and he wrote a reviews: “None of the classics is half so famous for his many lms and TV series. beautiful introduction to the piece: “The giddy, nor so utterly entertaining as ‘The Writing commercials may seem like light is meant to serve—as light serves for Jazz Nativity’ that burst onto the stage of the bottom of the composing barrel but it so many religions and philosophies—as a Orchestra Hall on Sunday afternoon” was a great training ground. As my album symbol of truth and loveand hope. Hope (Howard Reich, Chicago Tribune). “Anne arranger once said: “There are melodies that even in a dark season, we may begin to Phillips has created a compelling evening and there are bunches of notes.” And, as see the worldbending towards the light.” in which the secular and sacred swirl and Jim Jordan, creative head, then president My husband, tenor saxophonist Bob soar” (Chuck Berg, Toea News Jorna). of BBDO Advertising, said: “A memorable indred, and I produced the show. Starting Cities have produced the show themselves: tune is like free air time” Coming up with in the darkened house with Bob’s haunting “What an awesome experience—worthy that memorable tune overnight and pre- saxophone solo of “Silent Night,” build- of Broadway with fantastic choral, and or- senting it with ve agency people standing ing to the entrance of the Three ings who chestral music, dancing and spiritual mes- behind you eagerly waiting to hear the mu- present the gift of their talent is both thrill- sages. udos to West Market St. UMC for sic that is going to “save the campaign” is ing and moving. “By the end of The Jazz bringing this wonderful gift to our commu- very scary training. Nativity’ you know you’ve been through nity” (Barbara Geese, Greensboro, NC). But the era of record dates was coming something wonderfula stirring celebra- Three years ago, Leonarda Priore, co- to an end and shortly thereafter, music for tion of Christmas” commented Dr. Billy founder of Chelsea Opera, suggested that advertising, too. Melody had become “old Taylor, on CBS Sunday Morning. Arthur we co-produce the work (see Survival Ele- fashioned.” Now what In the late ’70s I Mills, from the New ork City Oce of the ment : jump on an opportunity). Since had a house in the Pennsylvania Chatau- Mayor, called it an “Incredible show” and my husband had become ill, I had had to ua, Mount Gretna, where there was a remarked: “ou de- wonderful summer chamber music series. serve an award Our I was invited to add jazz. (Survival Ele- children couldn’t ments 3, , .) The rst concert I pro- stop talking about duced was with Dave Brubeck. And after it” The show was that came Gerry Mulligan, Marian McPart- recommended by land, and another jazz great—singer Helen Alison Steel in City Merrill—with a chamber orchestra and ide New or: arrangements written by Tori ito (Tony “The memory of Bennett’s arranger). this extraordinary That was fun but where was my place performance will in the music world in New ork now A keep Christmas in drink with a friend at Broadway Joe’s led your heart forever” to my being hired to play there two nights a It was also praised week—back to where I started I received by distinguished a call from the Rector of St. Bartholomew’s performers; for ex- Church to be the music director of the 9 ample, Mauricio am service with a non-professional choir, Trejo (Sony Clas- and I also had a call from the head of the sical Artist and NU Jazz Department asking me to teach: winner of the In- a teacher with no degree and only real life ternational Caruso musical experience! Those belong under Competition) said: Fig. 2. Curtain call at A Jazz Nativity performance with Element (jump on an opportunity). And “A most extraordi- Anne Phillips and the Three Kings: Clark Terry, tap-dancer all turned out to be marvelous experiences. nary and powerful Harold Nicholas, and Tito Puente.

Phillips, Survivor of the Music Business 3 shoulder the production of the show my- ing I don’t think the word existed when I how we got here, to this bottom line world self. That included fund-raising, advertis- began, we just called it “keeping your face of numbers, read The Hunger for More… ing, casting, conducting What a relief to in the place.” One of the most interesting The Search for Values in an Age of Greed have a wonderful new co-producer, and I instances occurred in 1973 when a singer by Laurence Shames, written in the ’0s. met so many new opera singers. The 2017 friend moved to Los Angeles and suggest- (It is available on the web the new edi- New ork production by my not-for-prot ed that I take her place on the board of the tion on Kindle has a very recent preface. indred Spirits and Chelsea Opera will NC Chapter of NARAS, the Recording Shames says, “It is more important to read again take place at Christ St. Stephen’s Academy. (Survival Element : jump on it now than when he wrote it.”) Church this December. And there will be an opportunity.) I later became a National So how do you wade though this new productions in other cities, too. Trustee and then the N representative to world (Follow Survival Element 5: don’t But even with all those jazz legends in the Grammy Show. I remember my anxi- give up.) My children’s musical, The Great the show and the marvelous reviews, we ety when I walked into that rst Trustees Grey Ghost of Old Spook Lane, which I were never able to get corporate sponsor- meeting A room lled with the top people wrote when my children were in grade ship or a record deal. We had to produce in the music businesssome whose names school, has recently been published by the CD ourselves. We had hoped it would I had heard from childhood! But, little by Samuel French. Damn Everything But the be performed on television we were very little, I realized that I was ualied to be Circus, a full musical (title song written disappointed when an Emmy-winning pro- there. I had been in more areas of the busi- in 1975) has nally found the right book- ducer presented it to PBS and they turned ness than most people there When the writer and has had two N readings. Most it down. It did get published by a major producer, Pierre Cossette, talked about his excitingly, I took o the shelf What Are We house, but it just sat in their catalog and concerns for the live show, I understood. I Doing to Our World? (an hour piece about received virtually no promotion. So I took had done live TV. Produced shows Been a creation and the environment) and produced it back and am promoting it and shipping working singer Composed, arranged, and it in New ork this past spring. It will be the music myself. produced records and commercials I was performed at Duke University next year, Obviously, A Jazz Nativit also comes the N representative who had to come up a co-production of the School of Environ- under Survival Element 5 (don’t give up) with the best way to use the new young ment and the University Chapel. Although I and an additional one, Survival Element trumpet player who was nominated in both wrote it years ago, the timing is perfect now. #9: Be prepared to take a risk. Without ma- classical and jazz. His name was Wynton Some works are still gathering dust: A jor underwriting any production is always Marsalis. I presented Grammys to many Spark of Faith, a one-hour show of twelve a risk. For example, for the December 2005 famous performers, such as Itzhak Perlman songs connected by New Testament scrip- shows we had great stars and a beautiful and Richard Burton (see Figure 3). ture (performed and toured but now on the venue. The two-day NC transportation shelf), my Easter Mass, Sing, for The Lord strike was called for exactly the days of Has Risen (recorded at St. Patrick’s Cathe- the show When we performed it in New- dral with John Goodwin conducting), and ark, there was a double snow storm, and innumerable songs. Rex Reed commented: last year my two most supportive funders “Her songs renew my faith in good taste dropped out (one died and the other lost his very much in the tradition of the classic business). But the show went on. songwriters.” I never stop looking for op- I had fused real jazz and real opera in portunities for performance and recording. the show, and that gave me the courage to My advice to you in these changing times: be say “yes” when Monica Harte asked me prepared to take a risk (Survival Element 9): to write an opera for her Opera Shorts to 1. Singers or instrumentalists: could be performed at Weill Hall at Carnegie you produce and market your own CDs Hall. Tempo Fuori del Tempo (Time Out Fig. 3. Anne Phillips presenting a Previously, you had to be signed by a la- of Time) was the rst in 2009 with libretto Grammy for the Best Spoken Word bel but now you can do it yourself. I’ve by my friend Marilyn Scott Murphy. (See to Richard Burton (1976). done it. I have put my CDs on CDBaby Survival Element #4: be open to good sug- And now we come to today. It’s a and have gotten a lot of airplay on Signify, gestions) I have since written many more, world that has changed so much. It’s now Amazon, etc.; I have sales from all over the and they have been performed in other cit- the world of numbers. How many people world. I am lucky. My rst album, Born to ies. Chelsea Opera is producing my night will you “draw” How many “followers” Be Blue, sells steadily. The down side: are of short operas That “Certain Age” (about do you have uality vs. uantity. I saw it you independently wealthy Can you raise aging with grace, courage, and humor) in begin to happen when beautiful advertising the money through crowd funding To be November. My art songs have also been campaigns began to die in “test,” and the successful you must become a pro in many sung in concerts throughout the country; most creative people said, “I just can’t put areas such as recording, design, promotion, often the result of submission calls from my heart into it anymore.” When did you and social media. the New ork Women Composers. last read a review of a movie before you 2. As a composer, do you produce I realize now that I haven’t mentioned heard the opening weekend box oce take your work yourself Sometimes I do. Or do a very important survival element. Shall that determined its fate It wasn’t always you seek out opportunities for performance we call it Survival Element #10: Networ- like this. If you are curious enough to know though the web as I have through member-

4 IAWM Journal Volume 23, No. 2 2017 ship in The New ork Women Composers me: the “I’ll never work again,” and “will The joy of the etchikan, Alaska Should you publish your work yourself anybody ever hear my music” times. I once Jazz/Cabaret Festival every January. That ou don’t have much choice. The head of a wrote a sad lyric about my piano bench be- comes under Survival Element #3 too. major company recently told me that they ing so full of what I called my “piano bench This was a new experience for me, and I no longer publish individual pieces, they songs” that I couldn’t get the lid down discovered the joy of hearing townspeople only sign writers with proven performance Survival Element #11: Hang on to the who have never had the condence to sing records. The bottom line rears its head. No JOY! outside the shower perform in a big concert quality decision: no risk for them. But self- Did anybody ever ask you, “Why did for their supportive friends. publishing requires time to learn Finale or you choose music as a career” Didn’t you The joy of composing and just hope- Sibelius software (I decided to pay a copy- think, “That’s a stupid uestion I had no fully hearing the work performed. ist instead) and to market your work. Can choice! Music chose me! Music gives me The joy of having the respect and love you still nd the time to remain an artist life Music gives me joy.” The joy of Jazz of such dear friends in the music busi- 3. As a jazz or cabaret singer, the up- Nativit performances: the joy in the audi- ness and of living in New ork, luckily side of the music business today is ou- ence, the joy from the cast, the joy I feel in a rent-stabilized apartment, so close to Tube. At least you can be heard and seen standing in the midst of the most talented places where I can hear breathtaking artists without praying that someone will come to people in the world who come back to per- every night of the week your performance. The down-side of club form it year after year! And not the least, the joy of singing. work is that performers often must guaran- The joy of the indred Spirits Chil- I am still singing. I teach enough to keep tee an audience of 40 or more people or they dren’s Jazz Choirs—an outgrowth of A warmed up, and I take pleasure in the don’t receive a percentage of the receipts. Jazz Nativit for which we had a Chil- growth of my students, especially one very . As an opera singer Now that I am dren’s Project that enabled inner-city chil- disabled young woman who can now sing part of the opera world, I am thrilled to see dren to experience the show. Hearing 100 and play, with one nger, about 100 Great how many wonderful singers there are who inner-city children singing the great songs American Songs. Every lesson is a joy. are hired by small opera companies, but of Gershwin, Ellington and Berlin Joy That is the reason music chose you. As saddened to see how little they usually get The joy of my family vocal group. I’m the wonderful trumpet player Clark Terry, paid. No “cost of living” raise sure it was music that has led them to have who played and taught until he was 93, The music business has never been such fullled lives. said, “ou gotta keep on keepin’ on.” Just more dicult. There have been big dips for HANG ON TO THE JO Introduction, Appreciation, and Scholarly Pursuits: Part I DENISE VON GLAHN

This article, the rst of a pair, responds to I’ve taught in the College of Music at plore, and to historiography, the aggregate the welcome junction of multiple IAWM- FSU since Fall 199. Arriving with a dis- of the explanatory stories we tell and that related realities: the tradition of new mem- sertation and a couple of articles on dier- get passed along—why we tell them, the bers introducing themselves in the journal ent aspects of Charles Ives’s music, as well purposes they serve, who is in, who gets left the opportunity to thank the association for as a book contract for what would become out—and I turned to women in music. awarding my book, Music and the Skillful The Sounds of Place: Music and the Ameri- In The Sounds of Place I discussed Listener: American Women Compose the can Cultural Landscape (Northeastern Uni- twenty-four compositions by fourteen Natra ord (Indiana University Press, versity Press, 2003), I had no idea that my 2013), the 2015 Pauline Alderman Award scholarly focus would turn the way it did and the invitation to write about my most I was an Ivesian through and through. Per- recent work, a just-published biography: haps it was being the only woman musicol- Libby Larsen: Composing an American ogist in the department that heightened my Life (University of Illinois Press, 2017), sensitivity to issues surrounding women in and a new collaborative endeavor that music. Or maybe it was my role as the one- considers Annea Lockwood’s 192 instal- size-ts-all model for the dozens of women lation A Sound Map of the Hudson River in our program that caused me to pay great- in relation to the sounds of that same place er attention to the people who weren’t in the in 2017. The Lockwood project will be the historical narratives I taught. It’s tempting focus of the second article, although I will to look back and create a neat story line introduce it here and provide some back- for how or why I set out on the new path ground. It incorporates research being con- I did, but neither history nor an individual Denise Von Glahn ducted jointly with a doctoral cultural ge- life yields to tidy plot lines, and I won’t sug- composers, thirteen of whom were male. ography student, Mark Sciuchetti, who is gest one here. Whatever the confuence of My focus on the monumental iconographic also completing a master’s degree in musi- serendipity, conscious intentions, and fortu- places used by the nation to shape its iden- cology with me at Florida State University, itous opportunities I turned increasingly to tity and tell its story, one traditionally root- my home institution. place and identity as topics I needed to ex- ed in the idea of rugged individualism and

Von Glahn, Introduction, Appreciation, and Scholarly Pursuits: Part I 5