The Bulletin o f t h e S o c i e t y f o r A m e r i c a n M u s i c f o u n d e d i n h o n o r o f O s c a r G . T. S o n n e c k

Vol. XXXVII, No. 2 Spring 2011 “Will Teach Music for Room and Board:” A Snapshot of the Profession in 1876

first music professor of the 1875-76 aca- dent musicians in a single year, 1876, – Georgia K. Peebles demic year. Serious American music jour- midway through the country’s “Long De- nalism was represented by Dwight’s Jour- pression.” Economic cycles of boom and bust are nal of Music, published by John S. Dwight In 1876 alone, some 210 citations con- a part of this country’s history, as con- from 1852 until 1881.5 cerning the employment of music teach- temporary Americans are all too aware. During this period of striking institu- ers appear, spread throughout newspapers Certainly, in any time of economic tional expansion for music in the United from around the country. Indeed, the downturn, the arts are vulnerable, as States, music teachers, whether associ- first insight gained through this investiga- government, private institutions, and in- ated with institutions or independently tion is the geographical breadth of music dividuals look for ways to trim expenses. employed, were widely engaged in the teaching in the United States, with ad- Indeed, the past decade has seen cuts to growth of the profession. The lives of a vertisements ranging from Bangor, Maine arts programs, which, when coupled with multitude of “ordinary” musicians, both (The Bangor Daily Whig and Courier), to double-digit unemployment, make the teachers and performers, remain some- Galveston, Texas (The Galveston Daily professional lives of independent music what elusive, and often unrecorded. News) and Denver, Colorado (The Daily teachers unpredictable. Whether these musicians prospered or Rocky Mountain News). Advertisements Earlier cycles of economic depression struggled, succeeded in their musical en- concerning music teachers appear as well also affected the lives and careers of Amer- deavors or were forced to turn elsewhere, in newspapers from St. Louis, Missouri, ican musicians, including one known as can be surmised only through gathering “The Long Depression, which gripped the information from localized sources of in- continued on page 18 United States from 1873-1879.1 Several formation. One primary source of such economic circumstances had contributed information was, of course, the commu- to the downtown, including the collapse nity newspaper, which represented the in this issue: of the Vienna Stock Exchange (May 9, lives and concerns of 19th century middle 1873), the U.S. Coinage Act, which re- America. “Will Teach Music for 17 duced the available currency supply, and Scattered across the United States, these Room and Board:” the gradual economic decline which fol- newspapers have previously represented a lowed the post-Civil War boom years. bibliographic quagmire, but new data- A Snapshot of the By 1876, unemployment in the United bases have emerged which resolve many Profession in 1876 States had reached 14%. 2 of these problems. Among them is the th Yet, in the midst of economic auster- 19 Century American Newspapers Digi- 2011 Awards and ity, institutional support of music appears tal Archive6, easily accessed through many 20 to have been flourishing in the United university libraries. This archive provides Honors States. Major concert halls were appear- full-page images of thousands of newspa- ing, including Cincinnati’s Music Hall in pers, which may be searched by date and The Paramount Theatre 19 1878. 3 The Theodore Thomas Orchestra subject. (Other databases for individual Music Library was touring through the East and Middle newspapers, such as the Historical New West between 1869 and 1878, as was the York Times Online, can provide a more The Antebellum Banjo Gilmore Band during the 1870’s.4 Music regionally focused search base.) Using the 19 professorships were appearing at Ameri- 19th Century American Newspapers Digital can universities, most notably with John Archive, it was possible to gather informa- K. Paine being appointed as Harvard’s tion about the employment of indepen- Reviews 26 continued from page 17 of some of the best music teachers of January 10 at 2506 Carr Street. Vocal, the North, she feels fully competent instrumental and harmony, by a thor- Lowell, Massachusetts, Concord, New of taking charge of the most advanced ough and original Method. Teach- Hampshire, and Macon, Georgia. pupils. Or, failing to obtain this, she ers will give lessons at school or at a It is not surprising that educational would accept a position as teacher pupil’s residence. institutions, then as now recruiting stu- of French or the English Branches. Call and see us. Mrs. M. E. Grow, Di- dents, frequently listed their music of- (Galveston Daily News, August 16-18, rectress. (St. Louis Globe-Democrat, ferings and teachers as an inducement to 1876) January 14, 1876.) enrollment. Centered on the page, the advertisements also emphasized longevity Music stores also often provided a base for More common, however, are the adver- and morals: enterprising music teachers: tisements of individuals seeking students, which specify varying levels of training German-American Ladies College, ASA V. Hill, Teacher of Music and and various forms of desired compensa- Austin, Texas / The Sixth Annual dealer in pianos (upright and square), tion: Session of this institute will com- cabinet organs and sheet music, mence on Sept. 4, 1876. / CORPS Rooms 9, 10, and 11, French’s New A young lady music teacher, from OF TEACHERS (6 listed) / Miss Tina Block, Central Street (Lowell Daily Utica, New York, wants a boarding Goerris, Teacher of Music, French, Citizen and News, January 5 – De- place in a private family. She would Geography / Miss Tony Von Schenck, cember 21, 1876) also like to give lessons for her board. Teacher of Vocal and Instrumental Best of references given and required. Music (The Galveston Daily News, The Chickering Piano! / Over 44,000 Address, state terms, etc. M.E. J. (St. Houston, Texas, August 9-Sept. 7, made. A written warranty for 5 years Louis Globe-Democrat, February 6, 1876) with every piano. / / Mr. J. H. Morey, 1876.) Teacher of Music, has the agency of Eaton Family and Day School, Nor- theseUurivaled instruments and will Wanted: A young lady (music teach- ridgewick, Maine / Fall term will com- furnish any style at manufacturer’s er) wishes a situation to play the organ mence August 28th. / Mr. Eaton has prices. (Independent Statesman, Con- in a church in the city; also, scholars associated himself with . . . (several cord, N. H., January 27, 1876) wanted at $12 per quarter. Address: teachers listed) / They will be assisted N.W. G. (St. Louis Globe-Democrat, by Mrs. Joel Wilson, Teacher of Mu- The New England tradition of the June 11, 1876.) sic. (Bangor Daily Whig and Courier, singing school continued, as churches August 10- Sept. 5, 1876) made available their premises for sing- A young lady who has had consider- ing schools, hoping to provide musical able experience in teaching wishes Wesleyan Female Institute, Stanton, improvement for their congregations: to secure a position as music teacher Virginia / Begins its twenty-seventh in a seminary or convent. Having Annual Session, Sept. 21, 1876. / Singing School!! / Geo. F. Wil- been for years under the instruction Ranks among the first Virginia schools ley, Teacher of Music in the Public of some of the best music teachers of for young ladies. / Twenty-three teach- Schools, Will Commence a school in the North, she feels fully competent ers and officers. Modern languages the Paige Street Baptist Vestry. Mon- of taking charge of the most advanced and / Music taught by European and day, January 10th, 1876 at 7 ½ o’clock, pupils. Or, failing to obtain this, she American teachers . . . P.M. would accept a position as teacher (Galveston Daily News, August 11, Two classes will be formed, one for of French or the English branches. 1876) beginners and the other for those more Address: MUSIC TEACHER, San advanced in singing. Patricio, Texas. (Galveston Daily St. Mary’s Academy, Austin, Texas Tickets, $1.50, to be had at Simpson’s News, August 16-18, 1876.) / Under the Direction of the Sisters Music Store, 41 Central Street, and at of the Holy Cross. . . The course of the door. The undersigned, recently arrived education is thorough and complete, / (Lowell Daily Citizen and News, from Havana, Cuba, where she has Comprising all the English branches, January 6, 1876) been engaged for the past thirteen Modern Languages, / Latin, Vocal and years as Music Teacher and Professor Instrumental music . . . Free-lance, independently employed of Languages, offers her services to (Galveston Daily News, August 15, musicians also advertised through the families of Galveston. Unexcep- 1876) these classifieds. The most prolific tionable references given if required. self-promoter was certainly Asa Hill, Apply at Grand Southern Hotel, or at Music teachers themselves sometimes ad- noted above, whose advertisement Goggan’s Music Store. HENRIETTA vertised for such positions: appeared over 90 times in the 1876 MAIRONI. (Galveston Daily News, Lowell Daily Citizen. There were a October 28-November 23, 1876.) A young Lady who has had consider- few independently organized music able experience in teaching, wishes schools: To make themselves more marketable, to secure a position as music teacher some music teachers expressed a “willing- in a Seminary or Convent. Having The undersigned, having succeeded in ness to teach at the home of their pupils,” been for years under the instruction establishing a large class, will open a theoretical and practical Music School continued on page 19

18 The Bulletin of the Society for American Music • Vol. XXXVII, No. 2 continued from page 18 approaches were employed, such as orga- and Contractions.” www.nber.org/cycles/ nizing singing schools, associating with cyclesmain. as did Mrs. Grow, above, and music stores, offering to teach in private 2 Charles Kindleberger, Historical Mrs. E. Wright, teacher of music, has residences, and even advertising a willing- Economics: Art or Science (Berkley: removed to 1134 Washington Avenue. ness to teach for room and board. Then, University of California Press, 1990), 310- Lessons given at the residence of the pu- in 1876, as now, in 2010, the profession 323. pil, if preferred. (St. Louis Globe Demo- of music teaching weathered a difficult 3 H. Wiley Hitchcock, Music in the crat, September 10, 1876) United States: A Historical Introduction. economic time, which musicians navigat- th What emerges is a picture of a time not ed with a creativity beyond that of simply 4 edition. Upper Saddle Creek, N. J.: unlike our own, in which schools and making music. Prentice-Hall, Inc., 2000), 149. other institutions attempted to maintain 4 Ibid., 96, 133. 5 Ibid., their music programs, while individual Notes 150-151. 6 Cengage Learning, 19th Century music teachers sometimes struggled to 1 National Bureau of Economic American Newspapers find sufficient employment. Multiple Research, “Business Cycle Expansions Collections at the Paramount Theatre Engaging the Antebellum Banjo at the Third Music Library Early American Banjo Conference

– Jean Cunningham – Greg C. Adams

The Paramount Theatre Music Library In August 2010, approximately 20 Many participants participated in jam is one of the nation’s largest collections of participants came to Antietam National sessions and organized pieces for a well- printed music, with approximately Battlefield’s Pry House Field Hospital attended public concert. During the con- 250,000 entries dating from the 1870s Museum for the Third Early American cert the musicians not only talked about to the 1950s. The Library consists of Banjo Conference. Attendees included what they were playing, but also contex- three categories of music: Symphonic, researchers, collectors, musicians, and tualized some of the ways the music and Chorus, and Popular. The Symphonic builders with an interest in the commer- the instruments were used in the past. and Chorus libraries were obtained by cial, popular, and vernacular use of the Multiple discussions regarding America’s the City of Oakland from the original banjo in the first half of the nineteenth racial history, minstrelsy’s depiction and Oakland Symphony in 1985 and are century through the American Civil War. treatment of African Americans, women, material typical of such collections. The George Wunderlich and Susan Rosenvold and other minority groups, and issues Popular Music Library, the largest and of the National Museum of Civil War surrounding slavery, appropriation, and most well-known of the three, was origi- Medicine organized the event and are exploitation were part of the discourse. nally acquired by various radio stations, now preparing the Fourth Early American This conference was just one of a growing by band and orchestra leaders, and by Banjo Conference, currently scheduled number of events fueling interest in the other professional musicians and dedi- for June 24-26, 2011. (See http://www. antebellum banjo. As mainstream inter- cated amateurs. It comprises many genres civilwarmed.org/calendar/events/view/9/ est in the banjo’s use in old-time, blue- of printed music, including silent film redirTo:L2NhbGVuZGFy for full infor- grass, and other popular musics capture and movie selections, opera and operetta- mation.) the public’s popular imagination with a derived, salon, parlor, semi-classical, cir- The presentations and workshops were generalized view of banjo history, explo- cus, ice show, vaudeville, ballet, ragtime, based on some of the latest research into rations into the deeper recesses of the Dixieland, Big Band, music both by nineteenth century banjo culture as well banjo’s often-contested past are unfolding and about various immigrant and social as interpretations of music, technique, at events like the Early American Banjo classes, humor, ballads, and all the dance and repertoire published and compiled in Conference. forms popular in their respective eras. period sources. Topics included research The instrumentation encompasses all on the African American musical ele- combinations from solo up to and includ- ments found in Dan Emmett’s manu- ing Theatre Orchestra. This voluminous script “Notebook of Jigs;” the life and collection is, appropriately, housed in outputs of 19th century banjo luminary the Oakland Paramount Theatre of the Frank Converse; and a workshop on Arts, a landmarked building contempo- banjo building focused on instruments rary with much of the collection. For attributed to the early commercial manu- information about using the collections facturer and retailer William E. Boucher, or conducting research at the Library, Jr. of Baltimore, Maryland. Attendees visit http://www.paramounttheatre.com/ also shared their latest acquisitions of resource.html. instruments, music, and ephemera.

The Bulletin of the Society for American Music • Vol. XXXVII, No. 2 19 SAM Honors & Awards, Cincinnati, March 2011

anthropology (including social and politi- eration of unexamined source materials – Judith McCulloh cal factors), along with an investigation and eight decades of discourse about into performance and intermedia practic- Show Boat, bucking received wisdom that Except for the Lifetime Achievement es. They address such issues as processes claims the show constituted a paradigm- Award to Paul E. Bierley, all these awards of ethnogenesis, identity, and authenticity shifting masterpiece of the American were presented at the business meeting while also taking into account the diversi- musical stage. Instead, Katherine shows on Saturday, March 12, 2011. Paul’s was fied historical and ideological perspectives that the work traded heavily, if inconsis- bestowed during the all-Sousa matinee of the two groups. It is compelling to tently, on the commonest of contempo- concert earlier that day. observe, for instance, how conventions of rary musico-dramatic coin. Her wide and melodrama interfere with ethnographi- detailed knowledge of earlier American Adrienne Fried Block Fellowship cal description, especially on the musical musical and theatrical genres makes her The recipient of the 2011 Adrienne level. What the committee found par- argument succeed. The committee also Fried Block Fellowship is Deniz Ertan, ticularly meritorious for the CUP Award appreciated the way in which she high- Visiting Fellow at the Rothermere was the questioning of negotiations and lighted the collaborative process between American Institute, University of Oxford, continued cultural interchange, especially Jerome Kern, Oscar Hammerstein, and for research and travel to complete her between indigeneity and the established the producer Florenz Ziegfeld, Jr., dem- book Transit and Difference in Musical artistic culture in both Canada and the onstrating the wide-ranging concerns that America, 1908-23. Dr. Ertan’s project USA, with all the ethnographic biases, shaped the final Broadway show. We assesses American music as a cultural “historical fiction’ in production, media- thoroughly enjoyed reading this disserta- and urban phenomena, as represented tion and “ritual in audience experience” it tion from both a literary and a content by Chicago and transregional/intercity implies. The membership of the commit- perspective. The committee included connections during that period, and com- tee is Sally Bick (chair), Claudia di Luzio, Leonora Saavedra, chair, Sandra Graham, pares and evaluates American musical Elaine Keillor and Graham Wood. Philip Gentry, and Mark Clague. discourse through art music and Chicago- based music newspapers during this Wiley Housewright Dissertation Award Irving Lowens Article Award period. It explores the (re)negotiations There were ten very worthy submis- The Lowens Article Award committee between the urban (metropolis) and the sions for the 2011 Wiley Housewright considered all nominations submitted rural (regional), locality/state and nation, Dissertation Award, designed to recog- and did a preliminary read-through of difference and uniformity. The Adrienne nize a single dissertation on American the 2009 runs of more than thirty-five Fried Block Fellowship committee, con- music for its exceptional depth, clarity, journals. All of us read a long list of sisting of Karen Ahlquist, John Koegel, significance, and overall contribution to twenty-six articles to reach a final short and John Graziano (chair), extends hearty the field. All dissertations were on music list of seven, which were similar only congratulations to Dr. Ertan. in the United States, and their topics in their consideration of some aspect of ranged from the role of music in “worship American music and in their excellence. Cambridge University Press Award wars,” through music in technoculture, As represented in this selection of articles, The committee for the Cambridge the New York Opera, and the Gilded Age, our discipline is strong, diverse, and University Press Award received submis- to musical fantasies in early short films, growing in its scope and reach. After sions of high quality in dramatically and the Russian diaspora in New York. considerable discussion and debate, different areas of exploration from inter- The submissions showcased the variety, we voted to present the Irving Lowens national scholars presenting at the annual originality, and quality of the research Award for the article that has made an meeting of the Society in Cincinnati, by the younger scholars of SAM. The outstanding contribution to the study 9-13 March 2011. The committee is very committee read five full dissertations, of American music in 2009 to Cristina pleased to announce that the winning sub- selected two finalists, and gave the award Magaldi for “Cosmopolitanism and World mission is “Head Hunters, War Canoes, by consensus to “Maiden Voyage: The Music in Rio de Janeiro at the Turn of the and the Reciprocal Negotiation of Ritual Genesis and Reception of Show Boat, Twentieth Century” (Musical Quarterly Performance” by Mary I. Ingraham and 1926-1932” by Katherine Leigh Axtell 92, Fall/Winter, 329-64). Members of the Michael MacDonald of the University of (Department of Musicology, Eastman committee were effusive with praise for Alberta. The paper presents a theoreti- School of Music, University of Rochester, the article, which displayed a strength and cally nuanced and sophisticated analysis 2009; Kim Kowalke, adviser). depth of research, musical understanding, of two films and their scores, made Katherine’s is a classic dissertation: and critical methodology. One reader sixty years apart that treat rituals of the impeccably researched and beautifully wrote that the article “decisively brought Kwaka’wakw First Nation. Building on a written, on a topic that strikes at the heart the Americas into the field of American web of rich detail, the authors incorpo- of some important questions--about how popular music studies. It engaged with rate a large variety of innovative research we deal with questions of authorship, the ideas with cross-disciplinary resonance, approaches to seek an understanding of historiography of the American musical, such as ‘orientalism’ and ‘authenticity,’ intercultural exchange and reciprocity. musical culture in the 1920s, and much and it did so in a critical and illuminating The paper considers issues of musical more. It is highly original in its consid- continued on page 21

20 The Bulletin of the Society for American Music • Vol. XXXVII, No. 2 continued from page 20 directly influenced by the experiences of taneously pursuing his musical interests. the nearly quarter-million German immi- Paul often claimed that he was “the Van fashion. It contributed both substantially grants (and their children) who lived in Gogh of the tuba world (because when and critically to the discourse about music the city at the end of the last century. people hear me play they say `My God! and globalization.” Another commented: With a stunning assortment of drawings, He’s lost his ear!’).” However, Bierley “I appreciated that she truly thought photographs, and musical examples, as was sufficiently virtuosic to have been beyond current paradigms and supported well as an 18-track CD that provides a a member of such esteemed groups as that with exceptionally strong research.” variety of stage music selections (many the Columbus Symphony Orchestra In short this was excellent work chosen unavailable elsewhere), Koegel’s book sets (1964-81), Detroit Concert Band (1973- from an exemplary group of articles, all a new standard in American music schol- 93), the New Sousa Band under Keith of which are a credit to the quality and arship, and will hopefully inspire a series Brion, and Arthur Fiedler’s 1971 World depth of the expanding field of American of new investigations into what many see Symphony Orchestra, which included music studies. The committee members as an already well-trod era in American musicians from sixty nations. Bierley were Tom C. Owens, chair, Christina musical history. soloed with the Columbus Symphony on Baade, Kevin Bartig, Tamar Barzel, and George Kleinsinger’s Tubby the Tuba. Andrew Flory. Mark Tucker Award When not working as an engineer This year the Mark Tucker Award or playing his tuba, Paul became the Irving Lowens Book Award Committee read a dozen extraordinary world’s foremost authority on John Philip This year the committee for the Irving papers on an array of innovative topics Sousa. Bierley has devoted a lifetime to Lowens Book Award—consisting of Paul submitted by graduate students from documenting and understanding Sousa, Charosh, Jessica Sternfeld, Judith Tick, throughout the United States and Canada. his band, and his creations. One of his Danielle Fosler-Lussier, and Jeffrey Taylor Topics ranged from the nineteenth cen- initial steps was to meet Sousa’s daughter (chair)--received thirty-five submissions tury to contemporary music. They repre- Helen and persuade her that he was seri- from twelve publishers. The committee sented an astonishing variety of American ous and sincere. She first allowed him was delighted to note how many of these music traditions and practices, reflecting to see only one of her father’s 85 huge show both the scholarly excellence and both the richness of American music and scrapbooks, but eventually granted him growing diversity in our field, covering the originality and new approaches to access to the entire collection at her Long topics as far-ranging as Cajun traditions, music scholarship by the Society’s gradu- Island mansion—a feat that astounded music in early California, the ceremo- ate students. The committee’s choice for Harold Spivacke, then head of the Music nies of First Nations, and a variety of the outstanding paper was clear and deci- Division at the Library of Congress, treatments of jazz and popular musics. sive. Dana C. Gorzelany-Mostak, who whose staff had not even been allowed to The committee’s choice, John Koegel’s read “The Hip-Hop Dalai Lamas vs. An look at this treasure trove. Paul played a Music in German Immigrant Theater: New American Girl: Soundscapes, Ideology, key role in the ultimate transfer of volu- York City, 1840-1940 (Rochester, N.Y.: and American Identity in the 2008 minous Sousa materials from the “March University of Rochester Press, 2009), looks Democratic Primary” at the annual meet- King’s” estate to the Library, succeeding back with fascinating new insights on a ing in Cincinnati, is the 2011 recipient through personal charm and honesty period of American history often mined of the Mark Tucker Award. The commit- where the head of the most important by musicologists. Covering an entire cen- tee consisted of Gayle Murchison, chair, music library in America had failed. tury is an amazing feat for any historian, Maya Gibson, Nathan Platte, Stephan Bierley read every page of these 85 but Koegel does so with extraordinary Shearon, and Chris Wilkinson. scrapbooks, organized Sousa’s manu- prowess. Based on an astounding depth scripts and photographs, and interviewed of archival research, and with meticulous Lifetime Achievement Award: Paul numerous surviving members of Sousa’s attention to detail, the book provides a Bierley Band. As a result of his extraordinary much-needed corrective to stereotypical The self-described “notorious tuba play- efforts, Bierley became Sousa’s (and later views of the role of German Americans er in the low-priced field” Paul Edmund composer/bandmaster Henry Fillmore’s) in our nineteenth- and early twentieth- Bierley was born on February 23, 1926, indefatigable cataloguer, biographer, and century musical life. One committee in Portsmouth, Ohio. Following gradu- publisher. Bierley’s five books on Sousa member called Koegel’s massive book “a ation in 1944 from Portsmouth High and two on Fillmore have been the bed- landmark volume that defines a field” at School (where he first became a Sousa rock for all recent scholarship on these a time when we must “rethink the histori- enthusiast), Paul became a member of the composers. cal presumptions of our own field with U.S. Army Air Force as a radio operator/ Paul also edited Sousa’s autobiography, respect to the undiscovered contributions gunner on B-25 aircraft and later as a tuba Marching Along, Sousa’s 1896 hit oper- of non-English speaking ethnic groups.” player in the 594th Army Air Force Band. etta, El Capitan, and the three-volume Not only does the book revive long- He graduated from Ohio State University The Heritage Encyclopedia of Band Music, forgotten composers, lyricists, shows, and in 1953 with a bachelor’s degree in aero- which has become a veritable bible for performance venues, but it ties these to nautical engineering. Like Charles Ives, wind music researchers. He also authored the unique cultural circumstances of New Bierley’s day job lay far from music. He countless articles, reviews, and liner notes York, showing how stage works with titles worked as an aeronautical engineer for about Sousa and other band figures. like Der Corner Grocer aus der Avenue A 35 years, primarily for North American Amazingly, these works were completed and Der Pawnbroker von der Eastside were Aviation (now Rockwell), while simul- continued on page 22

The Bulletin of the Society for American Music • Vol. XXXVII, No. 2 21 continued from page 21 the vast resources he accumulated over a And by the way, her checklist of manu- lifetime, Bierley donated over 500 band scripts Fuld didn’t know about was pub- without institutional backing, but with music recordings to the University of lished in 1981 as Popular Secular Music the unceasing assistance of his eternally Kansas Archives of Recorded Sound, and in America through 1800. Her very first supportive wife, Pauline, who devoted his entire research library to the Sousa publication, in 1974, was an edition untold energy and years of her own to Archives and Center for American Music of a tune book for fife compiled in the the cause. Paul and Pauline established at the University of Illinois. Anyone poor manuscript hand of Giles Gibbs in Integrity Press in order to issue many of who works on band music depends on 1777. Her history of Connecticut’s Music his books, as well as other resources on Bierley’s scholarship all the time. He is in the Revolutionary Era (with Ruth Mack band music. As Jonathan Elkus wrote our Schmieder, Spitta, and Wolf rolled Wilson) followed in 1979. in 19th-Century Music, “Bierley’s prose into one. In 1975 her early work on the dances moves engagingly, even seductively, and It is particularly appropriate that the with Ralph Sweet resulted in A Choice his scholarship is all that one would wish: Society for American Music’s Lifetime Selection of American Country Dances of methodically and meticulously deductive, Achievement Award be given to Ohio the Revolutionary Era, 1775-1795, with with the impressive array and variety of native Paul E. Bierley this year, the cen- two later editions. But that was just his source materials well described and tennial year of the famous 1911 around- the start of many brief bibliographies, documented.” the-world tour by Sousa’s Band. No one workbooks, and monographs on indi- Paul has earned numerous awards, the has done more to uncover and disseminate vidual dancers (John Griffiths, James first being the Edwin Franko Goldman the vast, rich history of American band Alexander, Captain George Bush) and Memorial Citation from the American music than has Paul Edmund Bierley. genres (fiddle tunes, social dances, music Bandmasters Association in 1974 “in rec- Please join me in congratulating Paul for George Washington), including The ognition and appreciation of his impor- E. Bierley, recipient of the Society for Playford Ball: 103 Early Country Dances tant contributions to the history and American Music’s Lifetime Achievement 1651–1820 as Interpreted by Cecil Sharp development of bands and band music in Award for 2011. and His Followers (with Genevieve Shimer America.” In 1987, he received ASCAP’s in 1990), as she branched south into Deems Taylor Award for his biography, Lifetime Achievement Award: Kate Van Virginia (the Richmond Assemblies and John Philip Sousa: American Phenomenon. Winkle Keller a 1784 dancing school in Lunenberg). Bierley was elected an honorary member Once upon a time, in Providence, All of this culminated in Dance and of the American Bandmasters Association Rhode Island, the good Lord dropped an Its Music in America, 1528-1789, her in 1988. In 1990, the American School incredibly energetic li’l bombshell, who at magnificent magnum opus, published Band Directors Association presented him the end of the conventional ‘50s, gradu- in 2007 by Pendragon, revealing her the A. Austin Harding Award for valuable ated from Vassar and that June married research still further afield into Spanish and dedicated service to the bands of her sweetheart, as was the custom then if and French settlements, English planta- America. Ohio State University awarded you were lucky. The mid ‘70s found them tion colonies in the South, New England, Bierley an honorary doctorate in 2001 for living in an 1801 tavern in Coventry, and the Middle Atlantic colonies. Just his decades of groundbreaking research Connecticut, smooth participants in a off the electronic press is the first volume on Sousa and American band history. nearby country dance society, and won- of her American-English Country Dance That same year he received the Academy dering what authentic American dances Compendium, 1730-1825, containing of Wind and Percussion Arts Award with music they could present during tunes and figures. from the National Band Association. In the Bicentennial. In her search for the Frequently laboring cheerfully as a col- 2005, he received the Dr. Paul E. Droste music she began to look for appropriate laborator, and always with that sweetheart Founder’s Award and the honor of Brass manuscripts, which of course were scarce, of yore, she is the sort that does a lot of Band of Columbus emeritus member- so she simply found them—many more work and makes it happen. With Mary ship. Bierley’s The Incredible Band of than Jim Fuld ever knew about—in vari- Jane Corry and a group of volunteers, John Philip Sousa won the 2006 Best ous Connecticut historical societies and she pushed several years to complete an Discography award from the Association beyond. She soon realized that she was index to The Performing Arts in Colonial for Recorded Sound Collections in its looking at a lot of the same tunes under American Newspapers, 1690–1783, origi- Excellence in Historical Recorded Sound different titles, and that she’d better figure nally published as a CD in 1997, and Research category. out a way to handle that. So she indexed recompiled online for the Colonial Music Paul has always had an innate curios- them alphabetically by solfège syllables Institute in 2010. She was choreographer ity and infectious enthusiasm for his on three-by-five slips filed in shoeboxes. for the film The Last of the Mohicans in subjects. Possessing a wonderful intel- Furthermore, if you said “1776,” she 1991. In 2004 she was elected to mem- lect and a huge heart, Paul served not could tell you all the pop tunes of that bership in the American Antiquarian only as a model for later wind band year AND sing them. Thus began the Society, which has published her latest researchers, but also as a source of endless publication in 1980, with the collabora- work on three 18th-century peripatetic encouragement and friendly corrections. tion of the Rabsons and Raoul Camus, Printers of Ballads, Books, and Newspapers. By opening up his file cabinets, and of The National Tune Index, since 2002 She’s not yet done by any means: she has his home, Paul quickly became model, online (with the added help of Susan been working a long time to finish the mentor, and father to countless Sousa Cifaldi) as Early American Secular Music late Arthur Schrader’s work on collections scholars. To assure that others could use and Its European Sources, 1589–1839. continued on page 23

22 The Bulletin of the Society for American Music • Vol. XXXVII, No. 2 continued from page 22 Band in 1987. For the past twenty- ners of his mouth and ruin his carefully four years he has tended this remarkably honed embouchure. from one of these three printers, soon resilient vineyard, arranging, organizing, He may have made his mark as an to appear as Songs in Vogue: The Isaiah locating long-lost music, ferreting out E-flat cornet virtuoso, but he also had Thomas Broadside Ballads at the American tubas, cozening stands, nurturing callow a way with words, ushering into print Antiquarian Society. Last but not least, novices and corralling veterans, direct- reams of adjectives, nouns, and adverbs she and her sweetheart have recently ing, soloing on the cornet, dispensing while eschewing dangling participles dur- established the Neponset River (on- Mr. Franklin’s miraculous healing shrub, ing his service as Record Review Editor demand) Press, where in the advert for and building the tempo to a boisterous for our journal, American Music, from her family recipe book (with her daughter prestissimo at the closing moments of the 1993 to 2006. This was complemented Margaret), you may find online direc- anything-but-silent auction. The annual by a similar tour of duty as an associate tions for the wicked Benjamin Franklin conference Thursday evening rehearsal editor of the International Trumpet Guild Shrub, duly credited to Raoul Camus as at 5:45 and the Saturday performance at Journal. As a musicologist with an abid- a secondary source, and long a staple of 6:00 are rituals and rite, music and mirth, ing interest in John Philip Sousa, Handel, Sonneck Society fêtes in the early years. and Sonneck tonic. and Venetian brass music of the sixteenth As a founding member of the Society, It is simply heresy to conceive of our and seventeenth centuries, he penned she served as a Vice-President from 1977 annual communal gathering without the over forty articles and rambled over the to 1981, Treasurer from 1981 to 1988, climactic clanging bell and cacophonous globe to present papers and lectures in and Executive Director from 1987 to cry “fire! fire! fire!” of the “Fireman’s Australia, Belgium, Canada, Croatia, 2000. For her vibrant contributions to Polka.” Indeed, that lone stanza that we Great Britain, Ireland, Switzerland, and all these positions, as well as to numer- all sing in unity with the band might well Thailand. ous committees during these years and summarize his many and varied contribu- At Kansas State, where he has taught beyond, she was awarded the Society’s tions to the Society and to the life of our since 1982, he has been honored as a Distinguished Service Citation in 1995. national music: “Do your best for one master teacher through receipt of the Therefore, Kate Van Winkle Keller, another, making life a pleasant dream! 2005 Phi Kappa Psi Artist Award and the in recognition of your astounding Help a worn and weary brother pulling William L. Stamey Award for Excellence achievements in early American music, hard against the stream.” in Undergraduate Instruction. His sus- documenting and restoring social danc- Research and performance connected tained service to the Society for American ing, innovatively indexing tunes, and with the brass band has long been at the Music is manifest in nine years of mem- compiling bibliographies of ballads and very heart of the Society for American bership with the Long Range Planning their printers, the Society for American Music, and he was ever at the heart of Committee, twenty-four years at the Music confers upon you its Lifetime the heart, whether performing on E-flat helm of the Sonneck Band, thirteen years Achievement Award for 2011. cornet with the Sonneck Brass Band, as Record Review Editor, and his con- or in a memorable Denver, Colorado, tinuing role as Chair of the American Distinguished Service Citation: Craig concert with Buffalo Bill Cody’s Cowboy Band History Interest Group. B. Parker Band, or in the Kansas State Faculty Brass Therefore, in recognition of his sus- Upon receiving the coveted keys to the Quintet, or with the American Wind tained contributions to the Society for Mercedes from George Foreman in 1993, Symphony Orchestra, or in the Spoleto American Music and with grateful appre- he assiduously kept the coffers overflow- Festival Orchestra or. . . . Every note ciation for nurturing our national music, ing as treasurer of our Society. He tended fashioned by this genial, imposing figure the Society is delighted to bestow upon our cash with flash, but more impor- of a man was invested with musicality, Craig B. Parker the Society for American tantly, he nurtured brass with panache, warmth, joy, and a sense of humor that Music’s Distinguished Service Citation. inaugurating the Sonneck Society Brass always threatened to break out of the cor- The Bulletin of the Society for American Music The Bulletin is published in the Winter (January), Spring (May), and Summer (September) by the Society for American Music. Copyright 2008 by the Society for American Music, ISSN 0196-7967. Editorial Board Editor...... Kendra Leonard ([email protected]) Reviews Editor...... Patrick Warfield ([email protected]) Design and Layout ...... Allison Gallant ([email protected]) Indexer...... Laura Pruett ([email protected])

Items for submission should be addressed to Kendra Leonard, 5216 Oleander Road, Drexel Hill, PA 19026, or, preferably, submitted as an attachment to e-mail. Photographs or other graphic materials should be accompanied by captions and desired location in the text. Deadlines for submission of materials are 15 December, 15 April, and 15 August.

The Bulletin of the Society for American Music • Vol. XXXVII, No. 2 23 from the president specific raison d’être—to ensure that the ing is a serious challenge, but few support study of American music and American the idea of increasing membership dues or musical culture is a part of the schol- the cost of the conferences. Some believe arly discourse—has been achieved. The that poor membership growth is a prob- meeting concluded with a decision to lem for the organization, while others like revise our Long-Range Plan; as many of the size of the Society. Overwhelmingly, you know, since that time this process respondents agreed that our priorities has begun. A meeting by the Executive should include scholarly integrity, colle- Committee in May led to a Long-Range giality, diversity, inclusiveness, and a love Planning Retreat held in September. of American music. (A summary of the Cheryl Tomko, a strategic planner from survey results can be found on the Society the University of Pittsburgh, helped (pro webpage at http://www.american-music. bono) to direct the discussion. This led org/organization/survey2011.php.) to many ideas, and the decision to solicit The pie-graphs and charts suggest an comments from members and to commu- almost-surprising extent of agreement. Dear Friends and Colleagues, nicate the results at the Cincinnati meet- Careful reading of the almost seventy A little over a month ago, the Society ing. Mark Clague, Mariana Whitmer, pages of comments, however, suggests held its annual meeting in the Queen City and Maribeth Clark created an on-line a somewhat less homogeneous picture. of the West, Cincinnati, Ohio. The meet- survey, which was conducted for three Many individuals shared diverse ideas ing attracted our largest-ever attendance weeks in February. Thirty-three percent and suggestions about specific projects and—as usual—was chock-full of stimu- of our members responded, generating we should pursue in order to achieve our lating papers, good musical performanc- nearly seventy pages of comments. These goals. There also emerged radically diver- es, and great camaraderie and socializing results were then shared with members at gent opinions about methods and tech- (as well as Graeter’s ice cream—which, an open forum in Cincinnati; between niques to use, perhaps indicating genera- as a native Buckeye, I have to mention). thirty and forty individuals attended and tional differences-of-opinion (“keep the There was a strong sense of excitement participated in a lively discussion. publications in print” vs. “go online with and anticipation, prompted by the large Some of the survey results are not at all publications;” “stay away from social net- number of SAM attendees, which includ- surprising: we value highly our collective working media” vs. “when are we going to ed long-time members (some of whom passion for American music, our camara- get with it and start a Facebook page?”). we welcomed back after absences of sev- derie, and our general sense of inclusive- Opinions that are more heterogeneous eral years), many younger faces (including ness (welcoming theorists, performers, than the survey results suggest were also many students and young scholars), and non-academics, and enthusiasts into our heard at the open forum. Financial secu- the largest group of first-time attendees ranks). A vast majority placed our excel- rity for the organization, various future ever to join us at a meeting. lent journal and our national conferences goals and projects to pursue, reaffirma- When I became President-Elect of the at the top of the list of valued activities, tion of our commitment to reaching out Society last year, I decided to speak to as and a predictable 95% of respondents to those outside our “circle,” and concern many SAM members as possible at the agree that scholarship on American music that attention be paid to marginalized Ottawa meeting, in order to understand is our most important goal. It should also areas of scholarship were among the better how we all feel about the current be of no surprise that demographically we most clearly and emphatically articulated state of the Society. I spoke with all of the are primarily Caucasians, United States issues. It will be up to the Long Range past-presidents in attendance, and had citizens, and employed as tenure-track Planning Committee (chaired by Society conversations with many colleagues, both professors in the academy; we self-iden- Vice President Denise von Glahn) to old and new. I wanted to gain a collective tify primarily as musicologists. In other hammer out the next stage of our plan- sense of the Society: where we are going, words, we are an academic organization ning process, which the board is commit- where we should be going, what is good that is musicological in orientation, as the ted to doing. about our organization, what needs to be activities in which we engage (and excel) I left the Cincinnati meeting with a fixed. This was a very useful exercise, and suggest. sense of optimism and excitement. It during the last year I have been thinking There also seems to be unanimity in was invigorating to speak with many hard about the observations I heard. terms of identified areas of concern. students and younger colleagues (who are At the same conference, then-Pres- Many share the view that we want to be excited about their scholarship despite ident Tom Riis held a meeting of the diverse, but the reality is that we are not. the woeful job situation), to reconnect past presidents; we spent several hours As one colleague put it at the forum, with old friends and colleagues, and to discussing the need to communicate a for an organization whose major schol- meet many first-time attendees who were clear direction for the Society, articu- arly focus is the study of music of the ethnomusicologists, theorists, and non- late our most important goals (and the Americas, our current demographics are academics. The information-gathering means to achieve them), and reaffirm cause for serious concern. We clearly need process for this revision of our long-range our identity. Some feel that the Society to redouble our efforts in this area. Survey plan has been quite valuable, and my is a victim of our own success, since our respondents also agree that lack of fund- continued on page 25

24 The Bulletin of the Society for American Music • Vol. XXXVII, No. 2 continued from page 24 and enthusiasm that was so palpable in goals. With your help we can do so. Cincinnati so that we, as an organization, Best, goal as President is to harness the energy can move forward to achieve our various Katherine K. Preston

student forum news of the Student Forum. On behalf of of Illinois at Urbana-Champaign from – Jennifer Myers the Student Forum, I wish to thank July 25-28, 2012. For the first time, Allison for her outstanding service and the conference, organized by Nicholas Participation in the Student Forum dedication to furthering the growth of Temperley and Christina Bashford, will continues to grow, and enthusiasm the Student Forum over the past year. be structured around a theme, that of for the group was surely apparent at At this year’s meeting the Forum held Anglo-American music and musical rela- this year’s meeting in Cincinnati. The its annual business meeting and elected tionships. NABMSA is especially inter- Student Forum panel, entitled “Research Brian Jones as its incoming co-chair. We ested in papers that explore these con- in American Music,” addressed current also discussed how to build community nections, such as those on British brass trends and strategies for archival research and network with each other throughout bands in America, British-American folk and provided advice to graduate stu- the year. Please join us on Facebook! traditions, and other transatlantic col- dents who are conducting projects in Sarah Suhaldonik has created a group laborations and influences. Proposals American music. Panelists Emily Abrams specifically for the Student Forum to sup- for performances and lecture-recitals of Ansari, George Boziwick, and Deane port this mission. Co-chairs Brian Jones works with an Anglo-American angle Root presented many helpful suggestions and Jennifer Myers are already looking are also invited, as are papers that draw and answered questions from their expe- forward to next year’s Student Forum upon interdisciplinary or broader cultural riences and perspectives as researchers, events. Please join our listserv by sending contexts and papers on figures or works archivists, and scholars. an email to “student-request@american- celebrating important anniversary years Many students were able to travel to music.org” with “subscribe” in the sub- in 2012 (e.g., Samuel Coleridge-Taylor, Cincinnati with the help of the Student ject field, or contact Jennifer directly Frederick Delius, Tippett’s King Priam). Travel Fund. The amount of money for more information (jennifer-myers@u. Graduate students are encouraged to sub- available for student travel is directly northwestern.edu) We look forward to mit; the best student paper presented dependent on how much is raised by the seeing you in Charlotte! at the conference will be awarded the Silent Auction—coordinated entirely by Temperley Prize. Abstracts of up to 500 Student Forum. This year’s auction was a NABMSA Conference 2012 Has words for 20 minute individual papers, success! Thank you to all the student vol- Anglo-American Theme for paper sessions of up to four papers, or unteers and members who donated and for lecture recitals lasting 40-50 minutes bought materials. We are always hoping The North American British Music should be sent by February 1, 2012, to to expand and improve the auction, so Studies Association (NABMSA), found- Kendra Leonard by e-mail to kendrapres- if you have ideas for next year’s event or ed in order to promote the study of tonleonard at gmail dot com or by postal would like to help in the procurement of British Music from all time periods on mail to 5216 Oleander Road, Drexel Hill items, please contact co-chair Brian Jones the North American Continent and to PA 19026, USA. For additional infor- ([email protected]). provide a collegial and supportive forum mation about the conference, see www. This year’s meeting marked the end for discussion of this study, will hold its nabmsa.org. of Allison Portnow’s term as co-chair fifth biennial conference at the University

The Society for American Music is pleased to welcome these new members Gabriel Alfieri, Attleboro, MA Daniel Guberman, Carrboro, NC Warrick Moses, Medford, MA Matthew Blackmar, Pasadena, CA Jessica Hajek, Lombard, IL Evelyn Osborne, St. John’s, NF, CANADA Christa Bentley, Littleton, CO Karen Ham, New York, NY Evelyn L. Owens, Philadelphia, PA Melinda Boyd, Cedar Falls, IA Leah Harrison, Tallahassee, FL Nancy Riley, Athens, GA Leah Branstetter, Cleveland Heights, OH Briawna Howard, Sandy, UT Todd Rosendahl, Tallahassee, FL Mellonee Burnim, Bloomington, IN Jeffrey Daniel Jones, Lexington, KY Michael Siletti, Mamaroneck, NY Margaret Daniel, Princeton, NJ Meredith Juergens, Cincinnati, OH Everette Smith, New Orleans, LA Jessamyn Doan, Philadelphia, PA Phillip Klepacki, Gainesville, FL Henry Spiller, Albany, CA Jarek P. Ervin, Philadelphia, PA Hannah Lewis, Cambridge, MA Paul Steinbeck, Chicago, IL Douglas Fennig, Urbana, IL Eduardo Lopez-Dabdoub, Brooklyn, NY Kristen Sullivan, Seattle, WA John Fifield, Stillwater, OK Joanna Love-Tulloch, Santa Monica, CA Stephen Thursby, Sumter, SC Joseph Franke, La Center, WA Rachel Lumsden, Brooklyn, NY Sarah Waltz, Stockton, CA Jeremy Frusco, North Plainfield, NJ Janice Mahinka, Elmhurst, NY Reba Wissner, Cambridge, MA Kevin Fullerton, Lawrence, KS Melody Rene Marchman, Orchard Park, NY Sebastian Zubieta, New York, NY Donald George, Potsdam, NY Matthew Mihalka, Minneapolis, MN Antonio Giamberardino, Ottawa, ON, CANADA Jessica Moore-Lucas, Nashville, TN

The Bulletin of the Society for American Music • Vol. XXXVII, No. 2 25 book review

Highway 61 Revisited: Bob Dylan’s Road from Minnesota to the World, ed. by Colleen J. Sheehy and Thomas Swiss. University of Minnesota Press, 2009. 278pp. ISBN-978-0-8166-6099-5. Paper.

– David Pichaske Whom All Moderns Prize,” and “In a through it and I gave back my interpreta- Voice Without Restraint.” Marcus kicks tion of what I thought. And he said, ‘Uh, “My friends at the National University off the discussion of section one, which that’s pretty fuckin’ good.’ And he said, ‘A of Mongolia are looking for a native is largely focused on Hibbing. His special bunch of years from now, all these people, English speaker to teach conversation genius is the realization of just how much these assholes, are gonna be writing about next semester,” I announced to my home town a small-town kid carries with all this shit I write. I don’t know what American Literature class at a Minnesota him, and of the need for critics to poke the fuck it’s about. And they’re gonna state university. “They provide a room around Dylan’s terminus a quo before cel- write about what it’s about.” He was and $400 a month. I provide a plane ebrating Dylan’s various termini ad quos. talking about writings of the Tarantula ticket. Anyone interested?” A creative Most of the collection’s other authors period, not I’m Not There, but the remark writing major from Dawson, Minnesota, spend their time at Dylan’s elsewheres. encompasses a whole style of writing and raised her hand. “Are you sure?” I asked The book’s editors begin not with the hard thinking in which he himself dabbled, the diminutive college junior. “Once I realities (excuse the pun) of Minnesota’s which Cameron Crowe demolished in buy it, that ticket is non-refundable.” She Iron Range, but with the abstract cere- the Biograph booklet: “Sitting across from nodded: “absolutely interested.” “Why bral world of postmodernism: anywhere, Bob Dylan on this afternoon, one could would you want to spend five months everywhere, nowhere. Their introduction see his influences very clearly. His speech freezing your ass off in Outer Mongolia?” begins, “In Todd Haynes’s film I’m Not sometimes flecked with the country-isms “To get the hell out of here.” There (2007). . . .” I’m Not There is the of his youth, the leather jacket draped One cannot overemphasize the need Bob Dylan film in which Dylan is played on his shoulders, a sharp gesture with a felt by many small-town Midwesterners by everyone except Dylan—the ultimate cigarette barely holding its ash . . . for all to get the hell out of their home place. Self as Other. “Lives of Allegory,” Thomas the years of who-is-Bob-Dylan analysis, Sherwood Anderson’s George Willard Crow titles his own essay in this collec- the answer seemed obvious.” catching the train out of Winesburg, tion. Given recent critics’ dismissal of Most critics and fans now agree that Ohio in 1917. Minnesota author Bill author, text, and definitive or even com- Chronicles, a linear narrative written in Holm, in The Music of Failure, so very munal interpretations, this choice is not Dylan’s most Midwestern voice, is finally pleased to watch his hometown “disap- surprising, and Dylan himself has played a better book than Tarantula . . . and in pear for the last time in my rearview mir- the Dada King. So what’s wrong with a a footnote to his essay in this collection, ror.” Bobby Zimmerman, blowing out of book on Dylan in which Dylan is played Alessandro Carrera admits, “To be hon- Minnesota in January of 1961, to freeze by others (critics)? He is anywhere and est, when Santo Pettanato and I translated his own ass off in New York City. nowhere; we are all of us equally any- Tarantula for our annotated edition, we This exquisite moment of departure where . . . and thus nowhere. (I myself had to work nights and days without even is precisely where Greil Marcus begins once answered a request for analysis of being sure if the book deserved all the his lead essay in Highway 61 Revisited: I’m Not There with a line from Apocalypse effort we were putting into it.” My point “ ‘As I walked out—’ Those are the first Now: “He’s not there. I’m not here. I am, here is that Greil Marcus takes the time words of “Ain’t Talkin’,” the last song on sir, unaware of any such film . . . nor to return to Dylan’s roots; other hip aca- Bob Dylan’s Modern Times, released in would I be inclined to comment on such demics, not only here but elsewhere, are the fall of 2006. It is a great opening line a film if I were aware of it. Sir.”) often content to begin—and end—where for anything: a song, a tall tale, a fable, But postmodernist theory opens the they have located themselves. Anywhere. a novel, a soliloquy. The world opens at door a bit too wide, turning attention Everywhere. Nowhere. the feet of that line.” Marcus goes on to from subject to critic and audience, and Highway 61 Revisited publishes selected quote Dylan’s high school teacher B. J. in effect licensing solipsism. The old papers from a March 2007 conference Rolfzen, quoting Milton’s Paradise Lost: question “What is the author saying?”— held at the University of Minnesota, “The world was all before them.” And so important in Dylan’s case—gets lost in the very school at which Dylan brief- so it seems when we pack our things and the multivocalities. And in this case, post- ly reinvented himself between depart- leave the known for the unknown. modernism may be a trap: Dada Dylan ing Hibbing and arriving in New York Using U.S. highway 61 as a road, may just possibly have been playing the City. That conference did indeed “bring a song, and a metaphor, Highway 61 postmodernists. In No Direction Home, together the most eminent Dylan schol- Revisited proposes to examine Dylan’s Joan Baez remembers his early visits in ars at work today,” as the book’s jack- journey from hometown to various Carmel Valley: “Bob liked to write there. et says, including Michael Gray, Greil elsewheres. It organizes twenty essays . . . He would always say, ‘What do you Marcus, Stephen Scobie, C. P. Lee, Toby by twenty different writers into four think of this?’ And I didn’t understand the Thompson, Dave Marsh, Kevin Dettmar, sections: “Highway 61, from North to thing at all. But I loved it. So, well, okay, and Christopher Ricks. On my own pro- South,” “Planet Waves,” “The Ancients, I’m gonna figure this one out. So I read continued on page 27

26 The Bulletin of the Society for American Music • Vol. XXXVII, No. 2 continued from page 26 well be one of the folksingers who appear Woman’. . . .” in a passage of Baraka’s 1965 book The To this reader’s eye, the strongest essays gram I scribbled stars beside Dan Bergan’s System of Dante’s Hell”); some new age are those that examine, without political “Robert Zimmerman’s High School,” mumbo-jumbo, including one “rizomic blinders, what T. S. Eliot called “Tradition Lee Marshall’s “Bob Dylan, Time and essay” of “magpie poetics”; and obligatory and the Individual Talent.” These include Tradition,” and Steven Heine’s “Bob cultural diversity pieces, including Alex Allesandro Carrera’s discussion of the Dylan: A Zen Master.” Unfortunately, Lubet’s “Dylan Disabled: Tolling for the tradition young Dylan found in Italy most of those authors and presentations Deaf and Blind.” Some essays dance far (and in high school Latin Club), Robert do not appear in this book. Marcus, too politely around the thorny questions Reginio’s analysis of “Nettie Moore” Lee, and Dettmar are present; what of Dylan and women, religion, and “the (Dylan as “a self-critical historian”), became of others, I do not know. Heine’s politics of cultural appropriation and and the essays of section three: Mick paper became Bargainin’ for Salvation racial masquerade” (among the missing Cochrane’s “Theme Time Radio Hour as (Continuum Press, 2009); my own paper papers is Devin McKinney’s less-than- Buried Autobiography,” Robert Polito’s became chapter two of Song of the North polite “Hotter than a Crotch”). Some “Bob Dylan’s Memory Palace,” and Kevin Country: A Midwest Framework to the essays argue fine points of biography or Dettmar’s “Dylan’s Forty Years in the Songs of Bob Dylan (Continuum Press in interpretation of interest mainly to hard- Classroom.” Bob Dylan is now a canoni- 2010). core Dylanologists: “a document has sur- cal musician, poet and public figure, and The essays of Highway 61 Revisited are a faced that may challenge this chronology. he himself recognizes his status and role. mixed lot: assessments of Dylan reception In 2006, Christie’s auctioned a postcard These writers offer significant insight in and influence on singers in the UK, of Piazza Navona sent from Rome to into Dylan the artist-teacher-historian. Italy, Japan, East Germany, even China ‘Sue Rotolo’ . . . and the postal seal reads They examine Dylan’s relationship with and South Vietnam; sketchy examina- ‘22-2-1963.’ “ Many essays are written history both personal and cultural, and tions of selected cover versions of Dylan in the language which caused Dylan to in so doing help to explain the reverence songs (nothing comprehensive); searches spend more time in Dinkytown than in many of us have for the back woods boy for heretofore undiscovered literary par- the University of Minnesota classroom, from the north end of Highway 61 whose allels (“The closest analogue to what the copious polysyllables, adjectives and journey into the world made him an Dylan is doing in these works is neither adverbs of dissertationese: “Subjectivity American prophet and poet. Ginsberg nor Bremser, but their colleague dramatically transmogrifies in Simone’s and publisher Amiri Baraka. Dylan could sublime reinterpretation of ‘Just Like a

Black Sabbath and the Rise of Heavy Metal Music, Andrew L. Cope. Ashgate, 2010. 172 pp. ISBN-978-0-7546-6881-7. Hardcover.

little commercial visibility to carry them overlapping qualities of these styles cre- – Glenn T. Pillsbury through metal’s boom era though, most of ate the potential for a compelling study those groups disappeared from the most except that Cope seeks to separate the An overarching theme of VH1’s That widespread mythology of metal’s origins. two completely and provide “proof” of Metal Show is an inclusive celebration During the 1990s and early 2000s, with Black Sabbath’s sole establishment of the of what co-host Jim Florentine describes so-called “extreme” metal styles driving metal sound. In Cope’s words, the project at the start of each episode as “all things the evolution of the genre, the new histo- “interrogate[s] the significant differences hard rock and heavy metal.” In tak- ries told by fans and journalists held that in musical syntax between bands . . . and ing such an ecumenical view, the show just two bands, Black Sabbath and Led that would include . . . those considered happily defines heavy metal as whatever Zeppelin, counted as originators, though to be progenitors of heavy metal such as and whoever makes an appearance on they were clearly two competing entries. Black Sabbath and Led Zeppelin” (p. 1). its stage. Are Kiss, Dokken, and Poison Arguably, the current consensus holds The author further aims to demonstrate hard rock bands or metal bands? Moot that the list has finally shrunk to just one how the cultural concepts and ideas that question: they’re metal bands when their progenitor band: Black Sabbath, the One have been put forth by metal scholarship members appear on That Metal Show. True Founder of Heavy Metal. Into such since the late 1980s have actually been This type of fluidity, grounded in col- a setting comes the first academically undermined by the field’s inability to lective memory and shared experience positioned study of Black Sabbath and its articulate exactly what makes “metal.” more than explicit musical detail, has place in metal’s historiography: Andrew In this way, Cope argues, the scholarly always accompanied the history of metal. L. Cope’s Black Sabbath and the Rise of landscape of metal studies over the last Indeed, the one constant in that history Heavy Metal Music. twenty years, which has sowed confu- is how the genre’s participants continu- Overall, Cope is concerned with estab- sion and uncertainty by including Led ally revise their history. For example, in lishing, via detailed musical examination, Zeppelin in its investigations, can at last the 1980s the history of something called a distinction between heavy metal and be straightened out. “heavy metal” regularly included Iron hard rock, with Black Sabbath’s 1970– As a guitarist, Cope is well versed in Butterfly, Jimi Hendrix, Grand Funk 1975 oeuvre indicative of metal, and Led the musical details of both Black Sabbath Railroad, and even The Kinks alongside Zeppelin’s music of the same era serving and Led Zeppelin, and his informative Black Sabbath and Led Zeppelin. With as the basis for hard rock. The historically continued on page 28

The Bulletin of the Society for American Music • Vol. XXXVII, No. 2 27 continued from page 27 theories of gender in popular music, hear Grand Funk Railroad as “metal” in especially in the third chapter, whose the 1980s), but, according to Cope, ear- explanation of musical details is a useful topic is “The Dichotomy of Aesthetics lier scholars were mistaken to ever include starting point for future research. The in Black Sabbath and Led Zeppelin.” Led Zeppelin in books about heavy opening chapter provides the first really Throughout, Cope either misunderstands metal, even as it was being practiced in thorough musical study of Birmingham, or misreads Robert Walser’s exploration earlier decades. One might ask: what are England, the home of both bands. And, of heavy metal and gender in Running the historiographical implications for this although Cope takes the musicians’ recol- With the Devil. Written as something kind of revisionism? Does this imply that lections of their time there too much at of an overarching rebuttal to the entire a new book about Los Angeles’s Sunset face value, the chapter provides a good gender chapter in that book, the resul- Strip scene in the 1980s cannot use the snapshot of how popular music func- tant body of claims is hard to take seri- phrase “glam metal” to describe its sub- tioned in that city during the 1960s. In ously. According to Cope’s (mis)read- ject? That it cannot explore Poison or the second chapter, Cope examines the ing of Walser, androgyny, misogyny, and Mötley Crüe as representative of a com- harmonic contents of the two bands’ early excription are three strategies that drive peting version of “metal” against which output according to six criteria, ranging the entire aesthetic of heavy metal, full Megadeth and Slayer consciously set from tessitura to riff intervals to texture. stop (p. 71). Based on this misreading, themselves in all sorts of culturally reveal- Here, Cope is “concerned with decon- androgyny cannot be a dominant aesthet- ing ways? The fundamental problem with structing the musical building blocks that ic in metal (as Walser allegedly asserts) a retroactive genre-labeling approach like give identity (the finger print) to bands because Black Sabbath was not about Cope’s is that it attacks, using the author- considered to be heavy metal (or not)” androgyny but only about “the music” (p. ity of academic scholarship, a scholarly (p. 44). The result of this examination 73). Moreover, according to Cope, Walser problem that does not exist. is an exhaustive look at the two bands’ should not give heavy metal too hard of a In Black Sabbath and the Rise of music, and Cope is generally successful in time regarding past or present misogyny Heavy Metal Music we are treated to a showing just how different Black Sabbath because Eminem is worse (p. 81). Finally, great deal of musical detail about Black could be from Led Zeppelin. Cope argues that metal provides sig- Sabbath, but we do not actually learn Despite the usefulness of Cope’s analy- nificant gender opportunities for women, very much about the rise of heavy metal sis, his study is marred by significant prob- especially in more recent years, although during its earliest, most nebulous period. lems, not the least of which is an uneven his evidence consists only of a handful of Nevertheless, given the evolving interest tone and questionable use of scholarly female lead vocalists. (p. 79) in Black Sabbath as a foundational group, sources (most noteworthy, the absence of Cope seems to think that he’s engaged there is a really interesting story waiting any sources published after 2004). Even in a scholarly argument with Walser to be told about the band and the post- more problematic is the application of (and also Deena Weinstein), when in countercultural heavy rock milieu of the what Cope finds through his analysis to fact he misreads him. Contra Cope, both early 1970s as a whole. Unfortunately, in his larger scholarly purpose. For example, Walser and Weinstein created cultural his obsessive desire to settle the mythi- in the case of down-tuned guitars (i.e., studies that, far from pronouncing final cal Black Sabbath/Led Zeppelin origins the tuning of the whole guitar downward verdicts about the origins and member- debate, and thereby wall off metal from a second or third), Cope claims that Black ship of metal, sought to explore the ten- the supposed taint of hard rock, Cope Sabbath’s consistent use of lower tessitu- sions—cultural and musical, positive and misses the more valuable story. ras makes their music “heavy metal” (and negative—that informed how the thing thus an influence on later artists) whereas called “heavy metal” had meaning for the broad absence of down-tuning in Led those involved. Walser (and other writers) Zeppelin is evidence of that group’s status discuss Led Zeppelin in the context of in hard rock. The problem with this claim the history of heavy metal, because Led is that Black Sabbath’s down-tuning was Zeppelin was a part of the rock world also not, in fact, very common in a generi- inhabited by Black Sabbath during the cally identifying way until the late-1990s. 1970s, and Led Zeppelin’s significance Instead, throughout the 1970s and 1980s clearly informed later tensions within the vast majority of metal bands, from metal. Iron Maiden to Metallica to Judas Priest, In general, Cope’s approach is a used a tessitura and tuning along the lines strangely ahistorical one for an ostensibly of Led Zeppelin. Indeed, Black Sabbath’s historical book: he looks backward to 1970s tessitura was actually rather unusu- explain what he hears in contemporary al. Moreover, while low tessitura appears metal and then labels the results of that regularly in a variety of metal styles today, search as the true origins of the genre, and while Black Sabbath might be a with Black Sabbath thus the first heavy chronological precedent of that, modern metal band (Led Zeppelin is thereby down-tuning reflects additional influenc- written out of the metal story). It is a es beyond just 1970s-era Black Sabbath. perverted logic. Certainly, according to Cope’s study is also impeded by an the sound of today’s metal, Led Zeppelin embarrassing naiveté regarding basic does not seem to fit (just as it was hard to

28 The Bulletin of the Society for American Music • Vol. XXXVII, No. 2 Singing for Freedom: The Hutchinson Family Singers and the Nineteenth-Century Culture of Reform, Scott Gac. Yale University Press, 2007. 328pp. 978-0-3001-1198-9. Hardcover.

new information on the original group asked!). But I wonder. Audiences paid and – Dale Cockrell and the members of subsequent groups paid for decades and decades to hear the is presented here. Unlike many doctoral Hutchinsons sing and sing, and although Perhaps it has something to do with dissertations qua books, there is much there might have been a corner of the their name (“family” and “singers”—how more than sacks of new data, for Gac audience there to hear the message, I have totally white bread!) but I am constant- generally strives for new interpretations, to believe that most were there to hear the ly amazed that scholars don’t take the a good number of which are illuminat- music. And, in fact, much of the critical Hutchinsons, in particular, and sing- ing. These are specially welcomed when record left to us talks about their music- ing families, in general, more seriously he, essentially, deconstructs aspects of making: how perfectly in tune it was; how when pondering the musical nature and John W. Hutchinson’s formidable, two- well the voices blended; how well-suited makeup of nineteenth-century America. volume autobiography, first published the voices were to the music; how lovely The Hutchinsons, who performed in in 1896. Hutchinson’s intent, at which it all was (“Heart music” as opposed to various family-group configurations from he succeeded for a very long time, was “art music,” Walt Whitman called it). Gac the early 1840s into the 1890s, were to weld the focus on the lens through touches on this aspect of the Hutchinsons probably the best-known musicians in which his life’s work would be viewed. hardly at all. One might say that that’s the nation during that crucial and foun- Hutchinson wanted readers to concede excusable since he’s “just a social histo- dational period, and likely the most ubiq- that the Hutchinson Family Singers were rian!” But Gac has a master’s in double uitous (John Hutchinson claimed to have first and foremost committed to a benign bass from Julliard, so he’s far from just given twelve thousand concerts, that’s one and well-meaning concern for the bet- an historian. In his defense, politicians, every day for almost thirty-three years!). terment of humankind, and that their social reformers, and composers from The singing family tradition, which the approach, aided by their music-making, this period are much easier to talk about Hutchinsons (after the example of the had been instrumental in bringing about for the sources are more-or-less replete, Rainer Family) established, quickly gen- the abolishment of slavery, a more tem- while performers have images reflected erated scores if not hundreds of imitators, perate approach to alcohol consumption, only in the glass of reviewers, seen dimly and the model has remained a fixture in sensitivity about the place and rights of and heard faintly. Paradoxically, it’s that American musical life into the present women in the public sphere, and more image and that still small voice that has (where it abounds in the country, old such social improvements. Gac concurs remained with us, while the loud politics, time, black gospel, and southern gospel that the Hutchinsons’ primary contribu- the vivid social reforms, and that day’s traditions). Yet, try to find an article or tion was to social reform, but questions popular songs have largely faded. (A case a book on singing families, or a com- the results. I was, for example, completely in point: I was on the morning of this prehensive biography of the Hutchinson persuaded by his closing chapter, where writing sharing some air time on the local Family Singers written after the 1940s! he essentially asked: “What place a self- radio station with a small band of area Well, in truth, Scott Gac’s Singing for satisfied (and -aggrandizing), white sol- musicians—an upright bass, a guitar, and Freedom goes some way towards provid- dier for abolitionism in an 1890s world two senior-aged sisters singing in close, ing us with that biography. That it doesn’t that was reshackling black Americans well-blended, family-trained sweet har- go all the way is no black mark on this with Jim Crow?” “Was the early trum- mony “The Beautiful Star of Bethlehem,” fine and useful book, for it doesn’t really peting of ‘Immediate Emancipation’ a song written in this town—and the her- set that as a goal. It is, as the subtitle sug- enough?” Not enough, obviously, if you itage of the Hutchinson Family Singers gests, a discourse on how the Hutchinsons were postbellum African American, a was palpably there in the studio with us.) fit into an American society and political point that seems never to have occurred All things considered, Singing for environment that was often obsessed with to John Hutchinson. Freedom is an excellent book: well- social reform, both pro and con. Hutchinson also hammered on the researched and clearly written on people Gac’s book does not follow a chro- notion that he and his siblings and vari- and topics of intrinsic interest. It should nology, but rather recursively falls back ous family members were most of all be in any serious library (public and in time before spinning forward. The about their politics and least of all about private) that has any pretensions to hold- technique keeps the reader on her toes, their music. Gac seems to follow the ings in American music studies. That for sure, and allows Gac to draw lines company line here, as have just about the muse is yet unveiled means only that between events and perspectives decades all those who have ever written on the there is a higher step to tread someday on apart, but does induce some intellec- Hutchinsons (myself probably included). the path to Parnassus, which, now that I tual vertigo for one is not always certain The approach has undeniable appeal, for think of it, bears a striking resemblance exactly why the twisting and turning. It’s here’s popular music with manifest mean- to High Rock in Lynn, Massachusetts, not plodding, though, and there’s saving ing, of a sort that tends to appeal to those where John Hutchinson lived and the grace in that alone. of academic bent and sensibilities, and masses thronged with their picnic bas- The approach to the material is that with a trajectory into the present (“Is it kets in hand to bask in the glories of of a social historian, which is precisely possible to imagine The Clash without Hutchinson Family music-making, up Gac’s training. The archival research is first imagining The Hutchinson Family there close to the heavens. thorough and quite a bit of pertinent Singers?” is a question that just begs to be

The Bulletin of the Society for American Music • Vol. XXXVII, No. 2 29 bulletin board Carol Baron’s edited collection Bach’s Anna Wheeler Gentry will be perform- Legends” series of postage stamps issued by Changing World: Voices in the Community ing and lecturing at the P.I. Tchaikovsky the United States Postal Service (honoring (Eastman Studies, 2006), sold out two Moscow Conservatory of Music Selena, Carlos Gardel, Celia Cruz, Tito printings and is available through print on International Conference “S. S. Prokofiev Puente, and Carmen Miranda). demand. in the Modern World” celebrating the 120th birthday of Sergei Prokofiev. Alejandro L. Madrid (University of Illinois Sally Bick was awarded a Fellowship at Chicago) and Robin Moore (University from the National Endowment for the Sandra Graham has joined the faculty of Texas at Austin) have been awarded a Humanities for her project The Musical of Babson College (Wellesley, MA) and Collaborative Research Fellowship from Legacy of the New School of Social Research. will teach in the Division of the Arts and the American Council of Learned Societies. Humanities beginning in fall 2011. The award will allow them to conduct final The Ephrata Cloister has published Music fieldwork about danzon in Mexico, Cuba, of the Ephrata Cloister: Cloister Song in Thomas W. Jacobsen’s new book and New Orleans and finish the manuscript Modern Transcription, with transcriptions Traditional New Orleans Jazz: Conversations of their book about the historical and con- and annotation by Lucy E. Carroll. In with the Men Who Make the Music, is now temporary significance of this music and March, Carroll did a presentation on tran- available from LSU Press. dance genre. scribing the music of Ephrata at the Young Center for Pietist and Anabaptist Studies John Koegel’s book Music in German Drew Massey was awarded a Fellowship at Elizabethtown College; and in June, she Immigrant Theater: New York City, 1840- from the National Endowment for the will speak on her book The Hymn Writers 1940 (University of Rochester Press, 2009) Humanities for his project Between of Early Pennsylvania for the Eastern won SAM’s 2011 Irving Lowens Book Collaboration and Retrospection: John Division Conference of the American Guild Award for the best book on American Kirkpatrick, American Music, and the Printed of Organists. Both publications are avail- music published in 2009. Koegel’s book Page, 1929–1989. able from the Ephrata Museum Shop via was also a Finalist for the 2010 George Susan Shober at [email protected]. Freedley Memorial Award of the Theatre W. Anthony Sheppard (Williams College) Library Association; it won the 2010 Gold has been offered membership for William Everett will lecture on American Medal for Music in the ForeWord Book 2011-2012 at the Institute for Advanced musical theater at the University of Zagreb’s of the Year Awards, and was included in Study, Princeton, where he will launch a Music Academy in May 2011 under the the 2010 University Press Books Selected new research project titled “The Performer’s auspices of the Fulbright Specialist pro- for Public and Secondary School Libraries, Voice: Timbre and Expression in Twentieth- gram. Association of American University Presses. Century Vocal Music.” In January 2011, Koegel began a four-year Danielle Fosler‑Lussier was awarded a term as Book Review Editor of the Journal Judith Tick was awarded a Fellowship Fellowship from the National Endowment of the Society for American Music, and a from the National Endowment for the for the Humanities for her project American three-year term as the member for musi- Humanities for her project Ella Fitzgerald, Music, Global Messages: Building Bridges in cology of the Board of Directors of the a Biography: Life, Work, Legacy. the Cold War World. College Music Society. He served as a con- sultant for the March 2011 “Latin Music

conference calendar CFP: Africa meets North America in New October 22, 2011 at the Lincoln Center information, visit http://www.music.indi- York: October 20-23, 2011. The interac- campus of Fordham University (New York). ana.edu/lamc/conference/index.shtml. tion between Africa and North America Graduate students, part-time and junior continues in the ways in which North faculty are invited to submit abstracts of Workshop: 17th Annual Legacy Oral American musical genres and idioms have papers or performance samples for an asso- History Workshop: Museum of Performance provided creative models for the emergence ciated piano recital by June 20. For full & Design, San Francisco, August 4-6, of new practices on the African continent, details, go to the journal’s web page: http:// 2011. Learn how to plan, organize, and thus completing a cycle that continues to ucpressjournals.com/journal.asp?j=ncm. conduct fascinating interviews, use current replicate itself fueled by cross-cultural traf- Papers selected will be considered for publi- technologies to produce digital media proj- fics of people and cultural practices between cation in a special issue of the journal. ects, refine your editing skills, and prepare the two places. Abstracts should be sent to oral history print texts for printing or pub- [email protected] by June 4, Conference: Cultural Counterpoints: lication. The workshop is designed to meet 2011. Notification of abstract acceptance Examining the Musical Interactions the needs of beginning, intermediate, and will occur between June 11 and June 30, between the U.S. and Latin America: A advanced students. The three-day inten- 2011. Conference in Celebration of the 50th sive is led by oral historians Jeff Friedman Anniversary of the Indiana University Latin and Basya Petnick. For complete informa- CFP: Counterpoints: Nineteenth-Century American Music Center, Oct. 19-23, 2011, tion, visit: http://www.mpdsf.org/PAGES/ Literature and Music. Conference spon- at the Jacobs School of Music of Indiana PROGRAM/legacy.html. sored by 19th-Century Music, to be held University, Bloomington, Indiana. For full

30 The Bulletin of the Society for American Music • Vol. XXXVII, No. 2 1:33 PM Society for American1:36 Music PM Society for American Music 02/16/11 Statement of Financial02/16/11 Position Statement of Activities for Fiscal Year 2010 Cash Basis As of December 31, Cash2010 Basis January through December 2010

Dec 31, 10 Jan - Dec 10 ASSETS Ordinary Income/Expense Current Assets Income Checking/Savings Revenue from Dues Journal of the Society for Bank Accounts Individual Dues 28,882.52 5,137.00 PNC Operating 2,547.65 Institutional Dues Post Grad Dues 2,070.00 PNC Conference Account 750.92 American Music Retiree Dues 3,760.00 PayPal Account 10,115.68 Spouse Dues 540.00 PayPal Conference 800.79 Student Dues 4,563.68 Total Bank Accounts 14,215.04 Revenue from Dues - Other 0.96 Volume 5, Number 3 (August 2011) Total Revenue from Dues 44,954.16 Total Checking/Savings 14,215.04 Conference Revenue 59,302.91 Accounts Receivable Other Revenue Accounts Receivable 1,559.00 Donations - Restricted 4,601.00 Contributors Total Accounts Receivable 1,559.00 Unrealized Gains/Losses 30,401.77 Donations - Unrestricted 4,128.08 Articles Other Current Assets Advertising 1,300.00 Prepaid Expenses 2,933.22 Mailing List Sales 400.00 Celebrating the Nation: Kurt Weill, Paul Total Other Current Assets 2,933.22 PayPal Interest Income 4.38 Royalties 17,725.26 Green, and the Federal Theatre Project Total Current Assets 18,707.26 Total Other Revenue 58,560.49 (1937) Other Assets Total Income 162,817.56 Tim Carter Other Assets PNC Investment Account 345,614.35 Expense PrePaid Insurance 220.00 Conference Expenses 60,494.89 Aaron Copland and the Politics of Cultural Reconciliation Discrepancies -598.48 Total Other Assets 345,834.35 Journal Subscriptions 32,480.00 Diplomacy Journal Editorial 498.71 Emily Abrams Ansari Total Other Assets 345,834.35 Directory 3,689.81 Bulletin 7,413.94 TOTAL ASSETS 364,541.61 Board Hospitality/Discretionary 9,951.12 Mary Davenport Engberg: Pioneering LIABILITIES & EQUITY Board Travel 5,696.43 Musician in a Bachelors’ Frontier Liabilities Exec Dir Travel 956.50 Current Liabilities SAM Office Expenses 438.18 Elizabeth Juliana Knighton 431.72 Credit Cards Membership Services 725.00 Capital One 803.74 Membership Dues Ima Hogg and an Experiment in Audience DC Incorporation Fee 75.00 Total Credit Cards 803.74 Accounting Services 2,533.55 Education: The Rice Lectureship in D & O Insurance 710.00 Other Current Liabilities RILM 2,000.00 Music (1923–33) Other Current Liabilities PayPal Fees 1,226.69 12,355.28 Deferred Income Credit Card Fees 1,194.62 Walter B. Bailey Total Other Current Liabilities 12,355.28 SAM History Project 400.00 Interest Group 181.26 Reviews Total Other Current Liabilities 12,355.28 Awards from Restricted funds 16,175.00 Payroll Expenses 15,102.32 Books Total Current Liabilities 13,159.02 Total Expense 161,776.26 Denise Von Glahn, The Sounds of Place: Total Liabilities 13,159.02 Net Ordinary Income 1,041.30 Music and the American Cultural Equity Other Income/Expense Temp. Restricted Net Assets 261,388.57 Other Expense Landscape Unrestricted Net Assets 88,952.72 Ask My Accountant 0.00 Net Income 1,041.30 Carol A. Hess Total Other Expense 0.00 Total Equity 351,382.59 Amy C. Beal, New Music, New Allies: Net Other Income 0.00 TOTAL LIABILITIES & EQUITY 364,541.61 American Experimental Music in Net Income 1,041.30 West Germany, from the Zero Hour to Reunification David Nicholls Tim Lawrence, Hold On to Your Dreams:

Arthur RussellPage 1and the Downtown Music Scene, 1973–1992; Kyle Gann, Music Page 1 Downtown: Writings from the Village Voice Ryan Dohoney

Recordings David Starobin, Family Album (New Music with Guitar, Vol. 7) Gary R. Boye George Rochberg, Piano Music, Vol. 2. Joan DeVee Dixon Franklin Cox, The New Cello, Vol. 1: American Composers Brenda Leonard

Multimedia American Roots Music. Jim Brown, director Ann van der Merwe

The Bulletin of the Society for American Music • Vol. XXXVII, No. 2 31 T h e B u l l e t i n o f t h e Nonprofit org. S o c i e t y f o r A m e r i c a n M u s i c U.S. Postage PAID Society for American Music Pittsburgh, PA Stephen Foster Memorial Permit No. 5636 University of Pittsburgh 4301 Forbes Ave. Pittsburgh, PA 15260

Change Service Requested

Printed in USA

awards of the society

Further information is available at the Wiley Housewright Dissertation Mark Tucker Award website (www.american-music.org) or by Award The Mark Tucker Award is presented at contacting the SAM office. This award consists of a plaque and cash the Business Meeting of the annual SAM award given annually for a dissertation conference to a student presenter who has H. Earle Johnson Bequest for Book that makes an outstanding contribution written an outstanding paper for delivery Publication Subvention to American music studies. The Society at that conference. In addition to the for American Music announces its annual recognition the student receives before the This fund is administered by the Book competition for a dissertation on any topic Society, there is also a plaque and a cash Publications Committee and provides relating to American music, written in award. two subventions up to $2,500 annually. English. Adrienne Fried Block Fellowship Sight and Sound Subvention Student Travel Grants This fellowship, endowed in honor This fund is administered by the Sight and Grants are available for student members of Adrienne Fried Block, shall be given Sound Committee and provides annual who wish to attend the annual conference to support scholarly research leading to subventions of approximately $700-$900. of the Society for American Music. These publication on topics that illuminate musical funds are intended to help with the cost life in large urban communities. Preference Irving Lowens Memorial Awards of travel. Students receiving funds must be shall be given to projects that focus on the The Irving Lowens Award is offered by the members of the Society and enrolled at a interconnections among the groups and Society for American Music each year for a college or university (with the exception of organizations present in these metropolitan book and article that, in the judgment of the doctoral students, who need not be formally settings and their participation in the wide awards committee, makes an outstanding enrolled). range of genres that inform the musical life contribution to the study of American music and culture of their cities. or music in America. Self-nominations are accepted.

32 The Bulletin of the Society for American Music • Vol. XXXVII, No. 2