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. XXXV, No. 3 Fall 2009 The Current State of Canadian Music Studies By Robin Elliott American music studies doctoral program • American music exists; Canadian music anywhere). Canadian music studies, by does not. By this I mean that the phrase Dale Cockrell has observed that of contrast, have not advanced beyond the “American music” has a distinct profile and a concrete meaning for Americanists all the musicology positions advertised second of those seven steps. There is in a way that “Canadian music” will never in the United States in 1984, only one no single, stand-alone scholarly society have for Canadians. “American music” was reserved for an American music spe- for Canadian music, there is no peer- may not mean the same thing to all cialist (“Can American music studies reviewed journal dedicated to Canadian Americanists, but at least it means some- develop a method?” American Music 22.2 music scholarship, there is little discussion thing for most. After more than 25 years [Summer 2004]: 272-83). In 1984, with of curriculum development in Canadian of research into Canadian music, however, the creation of the Chalmers Chair in music, and the number of specialist fac- I have come to the conclusion that we may have music in Canada, and lots of it, Canadian Music at the University of ulty members in Canadian music remains but we don’t have any Canadian music. I Toronto (first held by John Beckwith), miniscule, percentage-wise. These are all for one do not lament this fact – indeed, Canadians enjoyed parity with Americans steps that American music studies have I find it liberating that no one musical in terms of dedicated positions. Cockrell achieved, while this Canadian, at least, tradition exerts hegemony over others further noted that in 2001, 22 out of 59 has looked on enviously. musicology and ethnomusicology posi- Despite our marginalized position and continued on page 38 tions advertised in the United States were our disciplinary infancy, Canadianists are reserved for American music specialists. a productive group, albeit one often I don’t have to look up the comparable focused on detail rather than the big statistics for Canada in 2001, because national picture. My bibliography of in this issue: that was the year that I applied for the all Canadian music research published Chalmers Chair, which remains the only between 1996 and 2004 listed 895 items; The Current State of 37 permanent university position reserved only 15 of the 895 items provides any sort Canadian Music Studies for a Canadian music specialist. As a of an overview of Canadian music, while result of this lack of specialized university the other 880 deal with regional issues, positions, Canadian music research is very specific organizations or institutions, and NEH Summer Institute 39 much a part-time labor of love for most individual musicians or compositions for Teachers on “Dvořák scholars rather than the primary focus of (Institute for Canadian Music Newsletter, and America” their academic life, and it is rarely tied vol. 2, no. 3 [September 2004], available to teaching duties. So we Canadianists online at http://www.utoronto.ca/icm/ Monterey Jazz Festival 40 seem to be much more marginalized than vol02no3.pdf). Speaking to this phe- Collection Site Launched Americanists in terms of our position in nomenon in her survey of Canadian and relation to musical academia. music research published recently in Cockrell also outlined seven gestational Ethnomusicology (50.2, Spring/Summer Looking Ahead to 38 steps as a topic develops from a subject 2006): 324-36), Beverley Diamond noted Ottawa 2010 area to a fully developed scholarly disci- that Canadians in general have a hard pline: 1) subject definition; 2) method- time coming to a consensus on any issue, Horace Boyer, Wilfred ology development and expression; 3) and she surmised that this may be why we 42 scholarly society formation; 4) scholarly Canadians tend to distrust grand narra- Mellers, and Mike Seeger publications; 5) curriculum development; tives and focus instead on microhistories. Remembered 6) specialist faculty; 7) doctoral pro- I would like to put forward for con- grams. He found that American music sideration three ways in which Canadian studies had reached the sixth step, but music studies differ from American music Reviews 45 not the seventh (as there is not yet an studies. continued from page 37 stripe—music librarians, musicologists, doing the studying. Addressing this issue ethnomusicologists, and composers alike. to allow for broader participation in the in Canada. In my opinion, the lack of a This is in part a reflection of the different field of Canadian music studies is a matter musical tradition that we proudly claim status that these various musical traditions of the most urgent priority. Only if and as our own, allows any type of music to hold in the two countries, and in part when this happens will music scholar- flourish and to be researched in Canada a reflection of the contrasting nature of ship in Canada begin to be an accurate on its own terms, rather than by an explic- academic music studies north and south reflection of our many and diverse musi- it or implied comparison with a dominant of the 49th parallel. cians, who tend to regard any controlling musical culture. The logical outcome of • Canadians preach diversity; Americans borders, be they political, cultural, sexual, racial, or any other kind, as at best porous. this factor is that we Canadians must practice it. Canada is demographically study the music of other countries, in diverse, and Canadians generally seem Canadians use a factor of ten to one particular the music of the United States. to accept that this is a good thing. To when comparing American achievements The history of our jazz and of much of cite just three examples, Canada was the to Canadian ones. We have roughly one- our popular music, to take two examples, first country in the world to adopt an does not make sense in isolation, and so official Multiculturalism Policy in 1971; tenth the population (though spread out must be examined in a North American aboriginal self-government was enshrined over a land mass somewhat larger than context. This is why Canadian music will in the Canadian Constitution in 1982, the USA), so we should be able to accom- always be a frill rather than a necessity and same-sex marriage was legalized in plish one-tenth of what Americans do, or for Americanists, but studying American 2005. We like to boast that Toronto is so the reasoning goes. This ratio applies music is a necessity, and not a frill, for the most multicultural city in the world, whether the factor being compared is Canadianists. ahead of New York and London; the city GDP, winning Olympic medals, or any • Canadians and Americans do not agree absorbs over 100,000 new immigrants each year from all over the world, and other aspect of human achievement. It is about what music is most worth studying. clear that in terms of national music stud- The weight given to the study of different nearly half of the city’s current popula- musical traditions and repertoires is very tion was not born in Canada. But turning ies, however, Canadians are nowhere near different in the two countries. The schol- from these worthy facts to a consider- measuring up to Americans, even by the arly study of Canadian jazz, for instance, ation of what Guthrie P. Ramsey Jr. (The tithe standards usually applied to cross- is so marginalized that it is virtually Musical Quarterly 85.1 [Spring 2001]: border comparisons. Quantity aside, we 1-52) has memorably termed the “musi- non-existent. A handful of scholars (John are also not yet matching Americans in Gilmore, Gene Lees, Jack Litchfield, and cological skin trade” in Canada, I find that the demographic diversity of Canada terms of the diversity of the music being most notably Mark Miller) have contrib- studied, or those doing the studying. uted outstanding work on Canadian jazz, is not at all reflected in the microcosm of but they have almost all done so outside of Canadian music studies. We don’t seem to Closing the quantity and diversity gaps the institutional framework of Canadian be making any great efforts at improving remains an urgent priority if the field of music studies, as loners and individualists our diversity, either. There are no initia- Canadian music studies is not only to rather than as part of academic Canadian tives in Canada similar to the committees measure up to American music studies, music studies. The study of Native North to address diversity issues that have been set up by the AMS, SEM, and SAM. I but also and more importantly if it is American musical traditions in Canada, to remain a vibrant and relevant field of on the other hand, has always been central find much greater evidence of diversity in to the interests of Canadianists of every American music studies, both in terms of study in the future. the repertoires studied and those who are

Looking Ahead to Ottawa 2010 by James Deaville cultures in North America in general is a city’s leading performers will participate Local Arrangements Chair first for the Society, inspired by our gath- in the concert, which will also feature ering in an officially bilingual city on the one or more works by noted Québec Where can you find the world’s largest border of Québec. composers Claude Vivier and/or Pierre skating rink (in winter)? the world’s larg- While the LAC has yet to work out Mercure. We anticipate that this concert est chamber-music festival? 50 museums all the details of the conference’s spe- will take place with the collaboration and galleries? free airport luggage carts? cial events, I can inform you of the of the Ottawa International Chamber In Ottawa, of course. Canada’s beautiful, major activities, including options for the Music Festival (“ChamberFest”), Ottawa stimulating capital beckons all SAMers, Friday-afternoon outings. The center- New Music Creators (ONMC), and the as does the program and activities of the piece will be the events on Friday evening Canadian Music Centre (CMC). Society’s 2010 conference. surrounding the tribute to R. Murray Other planned musical events are var- The Program Committee and Local Schafer, arguably the most influential ied but representative of the region. We Arrangements Committee have been hard Canadian composer on the international will be securing a Métis group for the at work to ensure that the Ottawa confer- scene. His “soundscape” compositions dancing after the banquet (with fiddle ence is a memorable one for all attendees. and conception of “acoustic ecology” etc.), and will also offer a concert of First The LAC is particularly excited about have enriched our conceptual vocabulary Nations music on the Thursday night. welcoming SAM members to Ottawa, a and left an indelible mark on our very A local composers collective expects to capital city of over one million inhabit- definition of music. We will recognize assemble a program of music by liv- ants that offers visitors a personal experi- Schafer’s life-long contribution to music ing Ontario-Quebec composers on the ence of the diverse constituent cultures through a concert of his chamber works, Saturday afternoon. of Canada. The Program Committee’s a genre in which he has been particularly For the traditional Friday-afternoon special call for studies of French musical prolific for over 50 years. Some of the continued on page 39

38 The Bulletin of the Society for American Music • Vol. XXXV, No. 3 continued from page 38 misnomer to a certain extent, since the NEH Summer Institute for Teachers post-World War II exhibits concern on “Dvořák and America” outings, several possibilities are close to Canadian peacekeeping operations). the hotel: As you can see, there is no dearth of Next summer, the Pittsburgh Symphony • a guided tour of the National Gallery of things to do in Ottawa. Some of you in Orchestra will host an NEH Teacher Training Canada, the largest collection of art in fact may wish to extend your visit. The Institute on “Dvořák and America” at the Canada, including an impressive Inuit airport is served by Air Canada, US University of Pittsburgh from July 12-30, art collection; directed by Joe Horowitz. The three-week • a guided tour of the Canadian Air, United, Continental, American, Parliament, where traditional rules of and Bearskin, with direct flights Institute will use Dvořák’s visit to and expe- social behavior are flaunted like in the from Boston, New York, Newark, riences in America to illuminate a “vertical British Parliament; Washington, Philadelphia, Orlando, slice” of American history ca. 1900, bring- • a ”soundscape” city walk with R. Fort Lauderdale, Chicago, Denver, and ing together music, literature, visual art, and Murray Schafer, who would guide par- Detroit, as well as all major Canadian popular culture to create a single, multilayered ticipants in listening to the unique cities. historical narrative. The seminar will also sounds of Ottawa; • an outing to the sugar bush, in order to Worried about the weather? Ottawa focus on issues of race and national identity observe the gathering and processing of is only the seventh coldest capital in the catalyzed by urbanization and immigration a maple syrup (a real Canadian product). world, because of our glorious spring century ago—issues which remain crucial to There are numerous other museums and summer! By the time of the SAM the American experience. in the area, including the Museum meeting, daytime temperatures are well SAM members Michael Beckerman, Dale of Civilization on the Québec side into the 40s (Fahrenheit). Bring a Cockrell, Jean Snyder, Mariana Whitmer, and of the Ottawa River (the Canadian warm coat and you will be fine. And Robert Winter will all serve as instructors for equivalent of the Smithsonian), Library there is no greater chance of snow than the Institute, as will bass-baritone Kevin Deas and Archives Canada (the Canadian in Denver at that time of year. and pianist Steven Mayer. Topics scheduled equivalent of the Library of Congress), Grab your passport, and we’ll see you to be covered in the seminar will include and the Canadian War Museum (a in Ottawa! continued on page 40

from the president how best to preserve our inheritance and Plans are afoot for Ottawa next spring. tap into the spirit of the sonic/Sonneck At that time, our new moderated-panel legacy which these men helped to shape. format, which we are calling the “confer- I invite you to share your ideas with me ence seminar,” will be given its first trial and the board about how best to meet run. The Program Committee, under the Society’s mission in the next decade Michael Pisani’s able leadership, is hard at of the 21st century—our challenge to work putting together a lively participa- “stimulate the appreciation, performance, tory experience for attendees. I hope you creation, and study of American musics will be among them. See the website for in all eras and in all their diversity.” further details. Many of you have posted eloquent Our Conference Site Selection statements on the SAM listserv about Committee, Conference Coordinator the richness of Boyer’s and Seeger’s music Joice Gibson, and Executive Director making as well as their skill as teachers, Mariana Whitmer are happily entertain- their warmth and generosity as human ing bids to host future national meetings! beings. I especially hope that our newest If you or your institution is inclined and and youngest members, who may know able to offer support to SAM for a spring- Dear Friends and SAM members, them only through recordings or films, time gathering of about 300 people at will read and examine these statements some time after 2011, please let us know. Since my last message to you in this carefully so as to soak up a measure of Once more I must thank our conscien- space, two more giants of American music that musical energy that continues to tious board members, volunteers, col- have left us. As we mourn the passing draw us all together. leagues, and you, the enthusiastic SAM of Horace Boyer (Lifetime Achievement What I will treasure most personally members, for everything you do on behalf Award recipient, 2009) and Mike is the all-too-short list of close contacts I of American music, whether as singer, Seeger (Honorary Member, 2003), I am enjoyed with Horace and Mike and how player, student, scholar, publisher, com- reminded of the extraordinary power they helped me to become a better teach- poser, teacher, technician, administrator, and compelling beauty of this thing we er. Especially sweet are the memories of or vendor. We are all in this together. call “American Music,” whatever one’s the looks on my students’ faces when they preferred dialect may be. “Life is short, walked into my classroom. Their “light Best Regards, but art is long,” as the old Greek expres- bulb moments” remain to inspire and will Tom Riis sion goes. always appear vividly in the mind’s eye Boulder, Colorado I also continue to be concerned about whenever I stand in front of a class.

The Bulletin of the Society for American Music • Vol. XXXV, No. 3 39 continued from page 39 immigration, blackface minstrelsy, plan- tation song, Yellow Journalism, 19th cen- tury American painting, Stephen Foster, Buffalo Bill, The Song of Hiawatha, the slave trade, and the Indian Wars. The Society for American Music Participants will also visit Erie, Pa., home The Society for American Music promotes research, educational projects, and the dissemination of infor- of Harry Burleigh. mation concerning all subjects and periods embraced by the field of music in American life. Individual SAM members who know teachers who and institutional members receive the quarterly Journal of the Society for American Music (JSAM), the Bulletin, may be interested in this opportunity are and the annotated Membership Directory. Direct all inquiries to The Society for American Music, encouraged to contact Horowitz at jh@ Stephen Foster Memorial, University of Pittsburgh, Pittsburgh, PA 15260; (412) 624-3031; SAM@ american-music.org. josephhorowitz.com for further informa- tion. The Pittsburgh Symphony website Officers of the Society President ...... Thomas Riis will also post detailed information early Vice-president...... Denise Von Glahn next year, including a complete schedule Past President...... John Graziano of events, at http://www.pittsburghsym- Secretary...... Carol Hess phony.org. Treasurer...... Doug Bomberger Members-at-large ...... Sandra Graham, Charles Garrett, Tammy Comprehensive Web Site Kernodle, Beth Levy, Michael Pisani, Daniel Goldmark Launched for the Monterey Editor, Journal of the Society for American Music...... Leta Miller Jazz Festival Collection Editor, SAM Website...... Patrick Warfield Stanford University Libraries and the Executive Director ...... Mariana Whitmer Monterey Jazz Festival have announced Standing Committee Chairs: the completion of a three-year proj- Finance: Paul Laird; Long-Range Planning: John Graziano; Honors and Awards: Mary Wallace Davidson; ect to digitally preserve the recordings 2007 Lowens Award (Book): Neil Lerner; 2007 Lowens Award (Article): Bonny Miller; Housewright Dissertation 2007: Jane Riegel Ferencz; Mark Tucker Award: Theo Cateforis; Membership: Karen documenting the history of the Festival, Bryan; Conference Site Selection: Joice Waterhouse Gibson; Nominating: Judith Tick; Public Relations: founded in 1958 and dedicated to the Vacant; Book Publications Subvention (Johnson Bequest): James Lovensheimer; Sight and Sound: Kip performance of jazz. The culmination Lornell; Silent Auction: Student Forum; Publications Council: Michael Broyles; Cultural Diversity: Steven of the project is a public-access web- Swayne. site called The Monterey Jazz Festival Collection at Stanford University, located Appointments and Ad Hoc Committees: at http://collections.stanford.edu/mjf. ACLS Delegate: Michael Broyles; Archivist: Susan Koutsky; Committee on Publication of American The site offers access to detailed informa- Music: Judith McCulloh; SAM History Project: Denise Von Glahn; US-RILM Representative: Denise Von Glahn; Registered Agent for the District of Columbia: Samuel Brylawski. tion on the recordings made during the festival, many of which have not been Interest Groups: American Band History: Susan Koutsky; American Music in American Schools and Colleges: Christine heard since their initial performances. de Catanzaro and James V. Worman; Connecting Outside the Academy: Joseph Horowitz; Dance: Renee The centerpiece of the site is a database Camus; Early American Music: Nicholas Butler; Folk and Traditional Music: Ron Pen; Gay/Lesbian/ documenting nearly 9,000 jazz pieces, Bisexual/Transgendered: David Patterson; Gospel and Church Music: Roxanne Reed; Historiography: interviews, and other events represent- Michael Pisani; Music of Latin America and the Caribbean: Paul Laird; Musical Theatre: James ing over 1,000 hours of audio and video Lovensheimer; Popular Music: Philip A. Todd; Research on Gender and American Music: Melissa de recordings. Researchers and enthusiasts Graaf; Research Resources: Alisa Rata; Twentieth-Century Music: David Patterson will appreciate the collection of jazz Electronic Resources performers and styles that distinguish Listserv: [email protected] the Festival as an important American Website: http://www.american-music.org cultural institution. Artists featured in the recordings include Dizzy Gillespie, Dave Brubeck, John Coltrane, Charles Mingus, Miles Davis, Sarah Vaughan, Annual Conferences Oscar Peterson, Herbie Hancock, Max 36th Annual Conference, Ottawa, Ontario, Canada Michael Pisani, Program Committee Chair Roach, Gerry Mulligan, and Thelonious James Deaville, Local Arrangements Chair Monk, and many more. The site also features a selection of streamed audio and 37th Annual Converence, Cincinnati, Ohio video clips, such as historic performances bruce d. mcclung, Local Arrangements Chair by Bobby McFerrin and Diane Reeves, interviews with Dave Brubeck and Dizzy Gillespie, works commissioned by the Festival, and performances from the Blues in the Afternoon series. For information on using the archive, contact Jerry McBride at Jerry.McBride@ stanford.edu.

40 The Bulletin of the Society for American Music • Vol. XXXV, No. 3 student forum The Society for American Music is pleased to welcome Getting Ready for Ottawa these new members by Doug Shadle and Monica Ambalal Award. Poster presentations and papers involved with the two themed seminars K. Gary Adams, Bridgewater, VA The annual meeting in Ottawa is still are more than welcome to apply, as long William Bares, Nyack, NY far away but it’s approaching quickly! The as the guidelines are followed. For infor- Georgiary Bledsoe, Boston, MA Student Forum organizes several events at mation on where and when to submit Dan Blim, Ann Arbor, MI the meeting, and we are always looking applications, please see the society web- George Burrows, Southsea, Hampshire, for volunteers to help. If you’d like to get site: www.american-music.org. England involved, please contact one of the co- Silent Auction Christi-Anne Castro, Ann Arbor, MI chairs: Doug Shadle ([email protected]. The Silent Auction, held annually Carey Cheney, Salt Lake City, UT edu) or Monica Ambalal (mambalal@ at the Society meetings, supports the Peter Cooper, Collegedale, TN hotmail.com). Student Travel Endowment. The auction Kelsey Cowger, Santa Monica, CA Ottawa Events is coordinated entirely by Student Forum. Felix Cox, Greenville, NC The Student Forum panel at the Ottawa This means we need your help! Recipients Paul Cox, University Heights, OH meeting will focus on novel approaches to of the Student Travel Endowment are Jeremy Day-O’Connell, Galesburg, IL American music in the classroom. As required to help out with the closing of Robin Gehl, Cincinnati, OH the job market tightens, creative teach- the auction on Saturday evening, but Ben Harbert, Los Angeles, CA ing is becoming a very valuable asset for we welcome and encourage other volun- Marcus Desmond Harmon, Santa job seekers. You won’t want to miss this teers during the course of the auction. Monica, CA panel! Check the final program for the As always, we seek donations of books, Klisala Harrison, Garden Bay, BC time and the location. recordings, and other SAM related mate- Canada Student Forum will hold its business rials for the auction. If you would like to Harold Hutchings, Chicago, IL meeting at 5:30 pm on Friday to elect help with planning, acquiring materials, Edmond Johnson, Goleta, CA a new co-chair and to discuss relevant or running the auction please contact Peter Lawson, Los Angeles, CA issues and concerns. All student members co-chair Monica Ambalal (mambalal@ Alexandra Mascolo-David, Mt. of the Society are welcome at this meet- hotmail.com). You might end up finding Pleasant, MI ing, and we would like to get to know your own treasures. Katherine Meizel, Bowling Green, OH you! Check the program for the location Roommate Search Robert Mensel, Portland, OR or look for signs at the conference. After Help stretch your travel budget and get Steven Nuss, Waterville, ME the meeting, we will relax at the Student to know a fellow SAM student member Matthew Otis, La Jolla, CA Forum dinner at a local restaurant. We by participating in the Student Forum Tamara Roberts, Chicago, IL look forward to seeing you there! roommate search. If you need help find- Stanley Pelkey, Portage, MI Mark Tucker Award for Outstanding ing a roommate for Ottawa, please email John-Carlos Perea, San Francisco, CA Conference Paper Doug Shadle ([email protected]). Maureen Pritchard, Columbus, OH Students who will be presenting papers We look forward to seeing you up Vicki Schaeffer, Norman, OK at the Ottawa conference are eligible north in Ottawa! Jedd Schneider, Saint Joseph, MO to compete for the 2009 Mark Tucker John Schuster-Craig, Grand Rapids, MI Mark Slobin, Middletown, CT Announcing the Adrienne Fried Block Fellowship Christopher Smith, Lubbock, TX Katherine Spring, Kitchener, ON 2. This award is limited to members of the This fellowship, endowed in honor Canada Society for American Music in good standing. of Adrienne Fried Block, shall be given Jesse Stewart, Ottawa, ON Canada to support scholarly research leading to 3. No more than one award will be offered Janet Sturman, Tucson, AZ in each cycle. The amount of the award publication on topics that illuminate Erica Watson, Long Beach, CA musical life in large urban communities. each cycle will vary depending on the interest generated by its endowment. Noel Verzosa, Antelope, CA Preference shall be given to projects that Amber Williamson, Murphysboro, IL focus on the interconnections among the groups and organizations present in these Applicants should include a full mail- metropolitan settings and their participa- ing address, phone number, and email tion in the wide range of genres that inform address (where an acknowledgment will the musical life and culture of their cities. be sent). Applications should be emailed to the committee chair, John Graziano Application Guidelines: at: [email protected], no later than November 15, 2009. Members of the 1. Applicants will provide a narrative of no Committee include John Graziano, chair; more than five pages that describes the scope John Koegel, and Karen Ahlquist. of the project and the need for funding.

The Bulletin of the Society for American Music • Vol. XXXV, No. 3 41 remembrances Horace Clarence Boyer

– Joice Waterhouse Gibson Voice and Sing. Acknowledged as the lead- ing scholar of spirituals and black gospel music, Horace Boyer lent his expertise to Horace Clarence Boyer died on Tuesday, several documentary projects, including July 21, 2009 in Amherst, Massachusetts, the British Broadcasting Company’s The exactly one week before his seventy- Story of Gospel; two Public Broadcasting fourth birthday, following a valiant battle Company productions: Mahalia Jackson: with throat cancer. At the 2009 confer- The Power and The Glory and Dark ence in Denver, many of us were shocked Midnight When I Rise: The Story of the Fisk and saddened to hear that Horace’s voice Jubilee Singers; and PBS’s Jubilee Singers: had been silenced by this horrible disease, Sacrifice and Glory. but we also immediately recognized that Horace Boyer’s teaching activities and through our associations with Horace, influence extended well beyond the class- we would continue to be his voice to and room and included numerous appear- through others for years to come. ances as a lecturer and clinician on gospel Born in Winter Park, Florida, on July music and the African American sacred 28, 1935, Horace was the fourth of eight music tradition, as well as a gospel per- siblings in a faith-filled family where music former in more than 40 states. (Who was an integral part of life. While young else could have so capably spent an after- boys, he and his brother James starting noon in the Chambers of the Supreme performing as a gospel duo, the Boyer Institution as Curator of Musical Court teaching 200 members of Capitol Brothers, making recordings for Excello, Hill to sing “Soon and very soon”?) For Savory, and Vee-Jay Records, as well as Instruments at the National Museum of American History and, concurrently, many years, Colorado was the benefactor performing with Mahalia Jackson, Clara of his clinics, workshops, and concerts, Ward, and James Cleveland. (Some of was Distinguished Scholar-at-large of the United Negro College Fund, a role that including annual gatherings at Mount us were fortunate enough in more recent Calvary Lutheran Church in Boulder, years to hear Horace and James perform included directing 35 performances of the Fisk Jubilee Singers. In 1988 he which inspired several annual gospel fes- together in concert.) When accepting the tival weekends at the Metropolitan State Lifetime Achievement Award on Horace’s was the University of Michigan’s Cesar Chavez-Rosa Parks-Martin Luther King College of Denver (directed by Larry behalf in Denver this past March, James Worster with myself as program coordi- recalled how a ten-year-old Horace’s love Professor. In 1990 Horace was named a Chancellor’s Distinguished University nator). It was through his first appearance for Milton Cross’s Metropolitan Opera as clinician at Metro State that Horace broadcasts on Saturday afternoons per- Lecturer by U. Mass. for his teaching and many contributions to music and joyfully reconnected with long-lost cous- plexed his family: “The rest of us thought ins, with whom he always spent time on he had dropped off a turnip truck.” But was awarded the Chancellor’s Medallion. Horace was also a senior research scholar subsequent visits to the area, sometimes perhaps it was inevitable that Horace accompanied by Gloria, his beloved wife would become so uniquely equipped to and visiting professor at Brooklyn College (1992) and held professorship residen- of forty-four years. He always brought bridge racial and cultural gaps by sharing numerous copies of his landmark book, the power and beauty of gospel music cies at Ithaca College (1993) and the University of Buffalo (1994). How Sweet the Sound: The Golden Age and spirituals in combination with his of Gospel Music (1995), which he pro- love and deep respect for European music Horace was awarded many other cita- tions, honors, and awards from colleges, claimed “THE best book about gospel traditions. music ever written.” Attendees heartily After graduating from Bethune- professional and civic associations, and churches, including the Martin Luther agreed and we always sold out in short Cookman University in Daytona Beach, order. Florida, Horace Boyer earned masters King Heritage Award from his birthplace city, the Lifetime Achievement Award Like so many others who were for- and doctorate degrees from the Eastman tunate enough to interact with Horace School of Music. He taught at Albany State from the Union of Black Episcopalians, and an Honorary Doctorate from the Boyer, I have many fond memories of College in Georgia and the University of those occasions. Horace is the only schol- Central Florida before accepting a post in University of Colorado (1996). His pub- lications include more than 40 articles ar I know who taught the “one more 1973 at the University of Massachusetts time” form—the one where the final where he taught until 1999. Upon his in journals including the New Grove Dictionary of American Music, Music chorus is convincingly concluded, only retirement, the university’s Department to be followed, after a short pause, by a of Music and Dance created the Horace Educators Journal, Black Perspectives in Music, and Black Music Research Journal. truly final rendition delivered with even Clarence Boyer Gospel Music Fund. He more enthusiasm, a greatly augmented served a residency at the Smithsonian One of his proudest accomplishments was editing the Episcopal hymnal Lift Every continued on page 43

42 The Bulletin of the Society for American Music • Vol. XXXV, No. 3 continued from page 42 musical backgrounds—into a polished of my name (from “rejoice”) and that he performing force capable of singing a always remembered my mother when he cadence, and resoundingly final instru- convincing gospel concert after only a saw her at our concerts. Our breakfast mental punctuation. I was enthralled with few hours of preparation. Whatever the chats were influential in my academic Horace’s ability to transform a rag-tag day of the week, wherever the venue, interests and I enjoyed his long-distance group of individuals—college students, we “had us some church” at those per- mentoring and encouragement. teachers, scholars, and church musicians formances. On a personal note, I recall of diverse races, ages, and religious and how Horace was tickled with the spelling

remembrances Wilfrid Mellers mative outlook, which is still too rare. He in Retrospect (1973). Undeterred he fol- – Peter Dickinson developed a technique based on applied lowed it with A Darker Shade of Pale: a historical knowledge and derived from Backdrop to Bob Dylan (1984) and Angels Wilfrid Mellers recognized the impor- the study of literature, where the context of the Night: Popular Female Singers of our tance of American music at a time when can be used to inform understanding of Time (1986). His mainstream interests it was struggling for acceptance even in the work itself. To him, music was not were represented by books on music the US. It took time for Mellers to under- just notes to be played, but emanated and society as well as monographs such stand the American musical scene but his from people. as Bach and the Dance of God (1980), articles in Scrutiny, the often aggressive Unlike most British university music Beethoven and the Voice of God (1983), literary periodical edited by F. R. Leavis, departments, then dominated by musi- Vaughan Williams and the Vision of show him moving in the direction of his cologists, York started with a faculty of Albion (1989), Percy Grainger (1992) and ground-breaking study Music in a New young composers including Peter Aston, Francis Poulenc (1993) as well as studies Found Land published in 1964. When David Blake, Bernard Rands—who of less familiar figures such as Frederic he started the Music Department at York moved to the US—and the late Robert Mompou (1989). Between Old Worlds University in the same year he began Sherlaw Johnson. The curriculum also and New (1997) is an anthology of his to exert an enormous influence on sev- gave performance a high place. Mellers’ critical writings from some of the leading eral generations of British musicians. His starting point was that music was not periodicals, selected by John Paynter, a Department became an example when music until it was heard and so there colleague at York for many years: it was new universities were being founded and should be no separation between theory followed in 2002 by Celestial Music? Some it was necessary to redefine the teach- and practice. With this credo Mellers put Masterpieces of European Religious Music. ing of music. Throughout his career he contemporary ideas at the center of his Another dimension of Mellers is his produced a steady stream of books and new Department. He brought music for own music, which has been overshad- articles which earned him a place as one young people into the curriculum in the owed by his other activities and is not of the most readable and stimulating same natural way that Benjamin Britten well served on CD. When he was at writers on music in the second half of the composed for children. Mellers was open Pittsburgh he wrote a piece for choir twentieth century. to all kinds of musical expression, antici- and piano for a largely black school Wilfrid Howard Mellers was born at pating the pluralism and multi-cultural- in an underprivileged area. This was A Leamington Spa, Warwickshire, on 26 ism of the twenty-first century scene rath- Ballad of Anyone, an enchanting jazzy set- April 1914. An only child of a school- er than the inherited distinctions between ting of a poem by e.e.cummings. It was teacher, he attended Leamington College highbrow and lowbrow. The center of all the American experience which caused and obtained a scholarship to Downing this was Mellers himself whose lecturing Mellers to see music whole, bringing in College, Cambridge. Here he took a first- technique was uniquely charismatic. jazz, pop and ethnic musics. A major class degree in English; then gained the The list of Mellers’ books is long and landmark from this point of view was his Mus. B; and stayed on to teach for some shows incredible industry, especially extravaganza called Yeibichai, commis- years in both fields. It was at Downing after his retirement from York in 1981. sioned by the BBC for the 1969 Proms. that he became a disciple of F. R. Leavis. He published the first study of Francois It was pure 1960s with a coloratura Some of Mellers’ early articles caused Couperin in 1950; he recognized the soprano, a scat singer, an improvising jazz trouble. He was criticized for the exces- seminal significance of Erik Satie; and trio, orchestra and tape. sively enthusiastic tone of everything he was the first British writer to consider Mellers’ British honors included the D. wrote. Mellers retorted that a reputa- American music of all kinds in Music in Mus from Birmingham in 1960 and an tion for critical rigor was more easily a New Found Land, completed after he honorary D. Phil from City University, gained through the negative approach had spent two years as Visiting Andrew London, in 1982, the year of his OBE. often found in Scrutiny rather than his Mellon Professor at Pittsburgh. Mellers He was made an Honorary Fellow of own positive and inclusive attitude. For raised eyebrows when, as a British uni- Downing College in 2001 and York more than sixty years after that we have versity professor of that period, he University presented a celebration for his benefited from the generosity of his affir- wrote Twilight of the Gods: the Beatles continued on page 44

The Bulletin of the Society for American Music • Vol. XXXV, No. 3 43 continued from page 43 Hildyard who gave him the security he We can be grateful that the goddess did needed in his final years. His Concertino in fact exert her influence on Mellers’ 90th birthday in 2004. After a private for Solo Violin and Orchestra called The longevity and that his irrepressible enthu- life that was not without its upheavals, Wellspring of Loves (1981) ends with siasms were transmitted so effectively for he was lucky to meet and marry Robin “Aphrodite the Postponer of Old Age.” so many years.

remembrances Mike Seeger sions of sorrow, and links to online video them, “not fancy, but good.” In the – Paul F. Wells and audio recordings. Mike’s role as men- notes to Close to Home: Old Time Music tor, friend, teacher, and source of inspira- from Mike Seeger’s Collection, 1952-1957 As I write these words it has been a tion to countless members of the old- (Smithsonian Folkways SFCD 40097, week since receiving the news of Mike time music community was abundantly 1997) he speaks of inheriting from his Seeger’s passing. I was in the midst of evident. To many, many people, includ- parents, Charles and Ruth Crawford doing some final e-mail before turning in ing me, it was Mike who provided the Seeger, a fascination with “the complex for the night when a message arrived with introduction to the wonders and riches sounds made by musically musically the news that we had lost him earlier that of the music of ordinary folks from the sophisticated (though not musically liter- evening. This was not a surprise; word rural South. He opened a door through ate) people throughout the South.” He had gone out the previous week that the which hundreds, if not thousands, of helped us find value in simplicity, and cancer Mike had been fighting for some others passed, and our lives were never showed us that that which is beautiful is years had taken a nasty turn. He had been the same after we did so. The music that not always pretty. diagnosed with multiple myeloma, treat- Mike gave us was a tremendous gift, a gift The day after Mike’s death I, like so ments were proving ineffective, and he that he delighted in giving as much as we many others, wanted to hear some of his had made the decision to suspend them delighted in receiving. I think that I can music. I put a few of his CDs into my and go under hospice care. He died at speak for many friends and colleagues in changer and let it play on random. One home, with his wife, Alexia Smith, and saying that when he died we all felt as if of the first songs that came up was “Sail other members of his family around him. we had lost a friend, or a member of the Away Ladies,” the final track on Mike’s Word is that he was not in pain, and family. True Vine CD, and one of the staples of passed peacefully out of this life. Mike had many qualities that made the old-time repertoire. There was Mike In this era of near-instantaneous com- him so special. His love of the music singing: munication the news of Mike’s death that he played, recorded, presented, and Ain’t no need to grieve and cry, spread quickly. There were postings on wrote about was obvious, and this love We’ll all be angels, bye and bye. many music listservs, and Facebook was extended to the people he recorded and I do not profess to know whether or filled with reminiscences, tributes, expres- learned from. He had a wonderful way not there is a hereafter, but I took this as of communicating this love and admira- a sign to think not just of the friend and tion through his work. Mike had great teacher we have lost, but of what he left curiosity, and was always willing and us with. His contributions to the world eager to learn from anyone else. He never of music are without measure, and we put himself before the music. Although are all richer for what he gave us. Thank he was a highly-skilled performer on you, Mike. an amazing array of instruments, and Postscript: When our Society bestowed clearly worked hard on his technique, it Honorary Membership upon Mike in was always in service of the music. It was 2003, it was my privilege and pleasure about getting people to hear the music, to have had the opportunity to write and not him playing it. read the citation that accompanied the One of Mike’s great legacies is teaching presentation. Readers may find the full us that musical worth is not measured citation in the Spring 2003 issue of the solely in terms of technical proficien- Bulletin (available online at: http://amer- cy. Many of the folks whose music he ican-music.org/publications/bulletin/ recorded and brought to wider attention vol291.pdf) or at Mike’s website (http:// were true virtuosos on their instruments: mikeseeger.info/html/samcitation.html). Kilby Snow, Sam McGee, Fiddlin’ Arthur Mike was unique among those to whom Smith, Eck Robertson, Wade Ward, and we have granted Honorary Membership others dazzled us with their brilliance. in that he actively participated in SAM Others, though, had more modest tech- conferences, both before and after being nical abilities, and Mike taught us that recognized by us. such players were, as he often described

44 The Bulletin of the Society for American Music • Vol. XXXV, No. 3 PHOTOS FROM THE OTTAWA 2010 PROGRAM COMMITTEE MEETING, JULY 2009

American Topics at the Conference on 19th-Century Music University of Kansas, July 2009

by Charles S. Freeman the Moravian Young Ladies’ Seminary Saffle of Virginia Tech and Paul Bertagnolli of Bethlehem, PA, and the piano rep- presented a pair of papers on the piano American musical scholarship was well- ertoire studied and performed by its sonatas of Edward MacDowell. A ses- represented at the inaugural Conference students. Finally, organist Steven Young sion devoted to “American Personalities” on 19th-Century Music held at the of Bridgewater State College offered a offered new perspectives on the careers of University of Kansas in Lawrence, July program on the life and music of Boston Anthony Philip Heinrich and C. Jerome 16-18, 2009. Three lecture-recitals and organist Henry Morton Dunham, played Hopkins by Marian Wilson Kimber of seven papers explored a variety of topics on the organ of Bales Recital Hall on the the University of Iowa, William Gibbons and approaches in the musical life of the KU campus. of the University of North Carolina, and United States. Elizabeth Perten of Brandeis University Douglas Shadle of UNC. The conference’s first lecture-recital, offered a study of critical reception to Plans are in the works for a second con- by Spencer Huston of the University of Amy Beach and her music by male and ference in the summer of 2011. Details Kansas, featured operatic fantasies and female critics. Thomas Kernan of the of the conference and a call for papers paraphrases by Louis Moreau Gottschalk University of Cincinnati examined the will be publicized within the next year and Richard Hoffman. A second pia- musical aspects of the memorial obser- through multiple academic channels, no-based recital, by Jewel A. Smith of vances in multiple cities upon the death including the SAM Bulletin and the the University of Cincinnati and Tami of Abraham Lincoln. Two full sessions Society for American Music listserv. Morris of Xavier University, turned to were devoted to American topics. Michael

book reviews

The Music of Joni Mtichell. By Lloyd Whitesell. Oxford: Oxford University Press, 2008. 288pp. ISBN-13: 9780195307993. Paper.

biographies, several studies that consider Whitesell states in his Introduction, – Daniel Sonenberg her alongside other singer-songwriters, “[t]his book is about music and poetry in and a few books approaching specific the songs of Joni Mitchell. My subject is Joni Mitchell has somewhat belatedly periods or albums. Into this fray steps sound, syntax, design, and effect – how joined the rock pantheon in the last Lloyd Whitesell, with the first full-length the songs are put together and how they dozen years, evidenced by prestigious scholarly book on Mitchell. Whitesell work” (3). This seemingly neutral state- awards, induction into the Rock and Roll brings a wide-ranging record of publica- ment could be read as a call to arms Hall of Fame, high profile tribute perfor- tion as a musicologist and a longstanding given the current climate of popular mances and outspoken praise by artists love of Mitchell’s music to bear on his musicology. The extent to which popu- such as Prince and Sarah McLachlan. subject, and has produced an excellent lar songs can or should be considered Accordingly, after many years of neglect and important addition to the available autonomous artworks, enmeshed as they in the literary realm, a spate of books literature on Mitchell in particular, and are in the popular culture industry, has about her has been released during this popular music in general. decade, including at least three general continued on page 46

The Bulletin of the Society for American Music • Vol. XXXV, No. 3 45 book reviews continued from page 45 and narrative techniques as suit her sun- son it is difficult to know how to weigh been debated since even before the nearly dry dramatic purposes. He thus exposes the category. Additionally, Mitchell is three-decade-old renaissance of Popular the inadequacy of the label with which perhaps most famous—musically speak- Music Studies began, and in recent years Mitchell has often been stuck, “confes- ing—for her own approach to the guitar, has inspired plenty of hot ink. For his sional singer-songwriter,” which it turns in which she retunes the instrument for part, Whitesell essentially sidesteps this out, isn’t even entirely applicable to her nearly every one of her compositions. debate, apolitically approaching his sub- earliest period. The harmonic and timbral implications ject matter as art music in a thoughtful Whitesell goes on to identify several of such “twiddling,” as Mitchell calls the work of musico-poetic analysis, to use his recurring personae in Mitchell’s songs, practice, would seem to be equally impor- preferred term. Mitchell herself thinks including the Ingenue, Mystic Bard, tant as Whitesell’s categories, but goes of her songs as “art songs,” and her work Torch Carrier, Free Spirit and Critic. largely untreated. stands up well under Whitesell’s analyti- He writes beautifully lucid and evoca- These concerns aside, the chapter suc- cal scrutiny, which teases from it layers of tive prose, and has a keen sensitivity to ceeds in illustrating the broad range of richness and subtlety that casual listening poetic nuance. His comments about the harmonic strategies evident in Mitchell’s could very well miss. final line of “Little Green,” Mitchell’s work. Chapter Six similarly highlights Whitesell begins his study by convinc- lament about a daughter given up to Mitchell’s unique melodic sensibil- ingly dividing Mitchell’s original output adoption, will suffice to exemplify. She ity and seldom-foursquare approach to into four stylistic periods: 1) 1968-1972; sings, “ There’ll be icicles and birthday phrase construction. In Chapter Seven, 2) 1974-1979; 3) 1982-1988; 4) 1991- clothes, And sometimes there’ll be sor- Whitesell profitably examines three of 1998. Demonstrating what will be one of row.” Whitsell explains, “The final line Mitchell’s albums as “song cycles,” a term the book’s great strengths—easy pivoting is exquisitely ambiguous. Its imprecise, he deems equally elastic in reference to from data-supported glosses of broad ongoing future tense disguises a very fresh Western art music as the term “concept swathes of material to close readings of wound. And who is it spoken to? Into the album” is to rock. He considers aspects individual songs—Whitesell hones in on air apparently, conveying a parental wish of large-scale tonal architecture, poetic specific exemplars from each period. He is to pass on hard-won knowledge, from and thematic unity, and genre in Song to able to capture elusive aspects of Mitchell’s a disappearing speaker whose despair a Seagull (1968), Hejira (1976), and Don development pithily. Whitesell notices a is spun into perfectly balanced verbal Juan’s Reckless Daughter (1977). shift from “linear to painterly” melodic designs” (60). In lieu of a true conclusion, Whitesell thinking from Mitchell’s first to second Though Whitesell considers the inter- ends his book by reflecting on a recent style periods, contrasting the “chiseled mingling of music and words in all chap- tribute album featuring Mitchell covers intervallic designs in fairly precise rhyth- ters, the most thoroughgoing musical by Elvis Costello, Emmylou Harris and mic coordination with accompanimental analysis is reserved for chapters Five and others. He considers his own book to figures” of the former with the “more Six, on Harmonic Palette and Melodic exist in the tradition of the cover version, plastic contour” of the latter, which allows Turns respectively. Mitchell is renowned inasmuch as musical analysis is a kind “for a lot of give in its alignment with the for her harmony, and Whitesell has stud- of reinterpretation, and expresses hope, background” (24). In the third period, ied the chord progression of every song in his final paragraph, that his “own he observes a “penchant for dry cadences within the period of his book, strati- work does not present the final word with little or no reverberation” (29). For fying her practice into five categories: on analytical insight into Joni Mitchell’s readers with some command of Mitchell’s Modality; Polymodality; Chromaticism; music, merely part of an ongoing conver- repertory, these crisp summations will Polytonality; and Strict Pedal Points. The sation.” Whitesell has done wonders for trigger nods of recognition. disposition of her songs across these cat- that conversation with this book, which Chapters Three and Four deal with egories is presented in the book’s largest illuminates the subtlety, craftsmanship, poetic elements of Mitchell’s songs, first table at the beginning of chapter Five. variety, and, to use a word the author in terms of Voices and Personae, and Given such prominence, it, along with sheepishly admits having uttered on occa- then Thematic Threads. Whitesell pos- the categories themselves, risks overshad- sion, genius of his subject. Prospective its that “[w]e need more precision in owing many keen harmonic insights in Mitchell scholars will find in this volume our descriptive language…in order to the subsequent pages. Though Mitchell’s a host of analytical schema to fuel further appreciate Mitchell’s rhetorical command modal practices are eye-raising in the endeavor in the field, while devoted fans and versatility,” (42) and proceeds to context of traditional Western tonal prac- will be challenged and enlightened. Most enumerate several aspects of authorial tice, Whitesell does not comparatively importantly, an unjustly absent space voice that Mitchell has restlessly manipu- situate them in the context of rock, where on the shelf containing music-analytical lated in her work. These include Mode adherence to a small body of standard studies devoted to a single artist has now (of address), Representation, Syntax, guitar chord fingerings has made so- been filled by one of the best to date. Diction, and Performance. Whitesell’s called polymodality more the rule than discussion is peppered with examples that the exception. It may indeed be true that support his premise—that Mitchell writes Mitchell’s modal wanderings are more songs from a kaleidoscopically varied prolonged or extreme than those of her range of perspectives, deploying rhetorical contemporaries, but without compari-

46 The Bulletin of the Society for American Music • Vol. XXXV, No. 3 Journal of the Society for American Music Bulletin of the Volume 3, Number 4 (November 2009) Society for American Music Contributors Articles Specifications and Rates for Schizophonic Performance: Guitar Hero, Rock Band, and Virtual Virtuosity Advertisements Kiri Miller John Philip Sousa and “The Menace of Mechanical Music” The Bulletin of the Society for American Patrick Warfield Music is the regular conduit for keeping The Musical Audubon: Ornithology and Nationalism in the Symphonies of Anthony Philip members updated on the state of the Heinrich discipline. It contains short articles and William Gibbons open discussions relating to American Reviews music, and occasional reviews of Books books, recordings, and web resources. Andy Strasberg, Bob Thompson, and Tim Wiles, Baseball’s Greatest Hit: The Story of Take Me It also includes information regarding Out to the Ball Game Richard Crawford conferences and performances, along with news relating to member activities. Charles Hiroshi Garrett, Struggling to Define a Nation: American Music and the Twentieth Century Jeffrey Magee It is sent to members three times per year. Circulation: 1,000 copies. About 100 of Michael Long, Beautiful Monsters: Imagining the Classic in Musical Media Phil Ford these go to libraries. Ted Gioia, Delta Blues: The Life and Times of the Mississippi Masters Who Revolutionized American Music SUBMISSION DEADLINES: Kip Lornell 15 December, 15 April, and 15 August Recordings Classic Canadian Songs To reserve, call Mariana Whitmer at Robin Elliott (412) 624-3031 or e-mail: SAM@ Mendi + Keith Obadike Present Crosstalk american-music.org John Brackett Americans in Rome: Music by Fellows of the American Academy in Rome Tear sheets will be sent after publication. Jeffrey Wright Multimedia SPECIFICATIONS AND PRICES From the New World: A Celebrated Composer’s American Odyssey. Robert Winter and Peter Bogdanoff Overall Page size: 11" x 8½" (page height x Paul Christiansen width). PDF format appreciated; images Marc Ribot: La Corde Perdue/The Lost String. Anaïs Prosaïc, director should be in black/white or grayscale. Tamar Barzel

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The Bulletin of the Society for American Music • Vol. XXXV, No. 3 47 book reviews

Prophet Singer: The Voice and Vision of Woody Guthrie. By Mark Allan Jackson. Oxford: University of Mississippi Press, 2007. 316pp. ISBN-13: 978-1604731026. Hardcover.

find the separation of the lyrics from their Jackson is quick to point out “Although – Richard Carlin musical presentation to limit what could unfair to accuse all southwestern preaches have been a richer analysis. of cashing in on the fear the storms In Prophet Singer, author Mark Allan The heart of the book is the chapter aroused, some churches did do a thriving Jackson, an Assistant Professor in English on “This Land Is Your Land.” Jackson business…” In this and many other com- at DePauw University, offers a literary accurately relates the performance history ments, Jackson seems to miss Guthrie’s and historical analysis of the lyrics to of the song, showing how Guthrie himself sense of irony—or at least underestimates Guthrie’s major songs, tracking Guthrie’s evolved the song’s text over time and in the reader’s ability to understand the dif- growth as a songwriter and commentator different recorded performances would ference between comic exaggeration and on the social injustices of his day. The first often vary individual lyrics or add or drop statement of fact. of a series of essays focuses on the genesis entire verses. Guthrie’s own self-published Because Jackson focuses on the lyr- of Guthrie’s most celebrated song, “This songbooks and later commercial publica- ics of the songs, he does little to place Land Is Your Land,” and the controversy tions also offered various versions of the Guthrie in the tradition of folk or coun- surrounding the two more radical verses of song. While Jackson’s description of the try songwriters of the twentieth century. the lyrics that were mysteriously dropped evolution of the song is basically even- He does trace some of the other recorded by some performers in the 1950s (includ- handed, he implies that the loss of the performances that Guthrie undoubtedly ing Guthrie himself). Jackson then covers “radical” final verses of the song—critiqu- knew—such as Andrew Jenkins’s record- songs addressing agricultural and other ing private property and asserting strong- ing of “Billy the Kid” or Bob Miller’s workers, racial discrimination, outlaws, ly the narrator’s independence—was due “Eleven-Cent Cotton and Forty-Cent and the growth of the union movement. to fear on the part of Guthrie and those Meat”—but he limits his discussion to Jackson asserts that Guthrie grew from who followed him, including his acolyte how Guthrie took lyrical ideas from these writing about personal experiences to Pete Seeger. Guthrie dropped the verses in sources. He notes that Guthrie borrowed developing increasing empathy for the his 1947 recording of the song, the only Jenkins’ melody for his celebrated song struggles of other workers and ethnic recording that was widely available during “So Long, It’s Been Good to Know You,” groups, thus showing a maturing politi- the 1950s. However, it is equally plausible but also performed Jenkins’ original ver- cal consciousness. Guthrie’s early and to say that because only the one recording sion and then adapted Jenkins’ song to personal Dust Bowl ballads progressed without the “radical” verses was available, make it more sympathetic to its outlaw to songs about events and movements other performers were simply unaware of hero. The implications about how a song- that he only read about in newspapers or Guthrie’s more radical intentions. And, writer works, and the many off-shoots heard about through movies, other songs, even if we accept Jackson’s belief that the that a single source might inspire, are or on the radio. He was able to see himself song was self-censored, such censorship left unexplored. It would be interesting in other’s shoes, and eventually was able was far from unusual in a period when to compare Guthrie’s adaptations of ear- to take intensely personal stories and use folksingers were losing jobs and recording lier sources to other songwriter’s working them as the basis for political action. contracts due to the Communist witch- methods, such as Jimmie Rodgers, who Throughout Prophet Singer, Jackson hunt. was a great influence on Guthrie. focuses on Guthrie’s lyrics and makes Further, Jackson’s lyrical analyses often Finally, there are some misstatements little or no mention of the musical aspects come across as academic fact checking. that are due to poor editorial work that of these songs. He makes no apology for Rather than illuminating Guthrie’s inten- are distressing to see in any publica- this focus, stating that Guthrie “did not tions, he often simply checks whether tion. Guthrie’s self-published Ten Songs do much in the way of composing his own Guthrie got the basic facts correct, not- by Woody Guthrie is mysteriously referred original music.” Of course, many folk ing of course that songwriters often take to variously as Ten of Woody Guthrie’s performers of Guthrie’s era (and indeed liberties when recasting real events into Twenty-Five Cent Songs and Ten Twenty- later singer/songwriters like Bob Dylan) song. This fact checking can sometimes Five Cent Songs by Woody Guthrie. The have borrowed traditional melodies to lead to unintentionally humorous results. cover of this mimeographed pamphlet create new songs. This time-honored tra- For example, in “So Long, It’s Been Good does indeed trumpet its twenty-five cent dition does not in anyway dilute Guthrie’s to Know You,” Jackson comments on cost, but no one would interpret this claims to be a songwriter as opposed to a two verses that criticized Dust Bowl era as being intentionally part of its title. lyricist. Nonetheless, Jackson asserts that preachers for using the storms as a means Jackson also asserts that Pete Seeger’s “Guthrie’s lyrics have an inherent power of filling their churches. Guthrie ironi- American Favorite Ballads songbook was and purpose” and compares the song- cally noted that the preachers’ call that “little-known;” however, the book is well- writer to Homer, among others. While “this may be the end” was often followed loved among folk revival performers and no one can argue that Guthrie was often by assuring their parishioners that they has remained in print for over 50 years. a fine lyricist, there may be some who could get “a cut rate on salvation and sin.”

48 The Bulletin of the Society for American Music • Vol. XXXV, No. 3 book reviews

Beyond Exoticism: Western Music and the World. By Timothy Taylor. Durham: Duke University Press, 2007. 328pp. ISBN-13: 978- 0822339687. Paper.

the deep structure of power relations that French sponsorship. In the case of Venice, – Duncan Vinson underlies these representations. Attention a key site for early opera, the frontier for to cultural context, not just stylistic char- expansion was eastward into the Adriatic Taylor’s Beyond Exoticism is an ambi- acteristics of musical works, is necessary and Mediterranean, not westward to the tious attempt to transcend usual opposi- to elucidate these power relations. Americas. Admittedly, Taylor is not argu- tions such as musicology and ethnomusi- In the first chapter, Taylor focuses on ing for direct historical causation between cology, the West and the Other, history the development of tonality and of opera. the colonization of the New World and and culture, text and context. The subject He argues that since tonality is funda- the rise of tonality and opera, but rather of the work is “the changing concep- mentally based on concepts of “center” that “each is unthinkable without the tions of otherness held by Europeans and and “margin,” distant tonal regions can other, and it is impossible to study one Americans, how these have been impli- be used to represent spatially distant without grappling with the other” (34). cated in western notions of selfhood, and Others in operas and other works. His Nevertheless, colonization of the New how these conceptions have left traces argument as a whole is plausible, but it World as a context for the development in music, sometimes overt, sometimes would benefit from more historical speci- of tonality and opera sits uneasily with less so” (209). Taylor refines the critique ficity. For example, at one point Taylor the Central European origins of these against the fetishization of musical works writes, “tonality as the now-familiar sys- musical practices. that musicologists and ethnomusicolo- tem did prevail in western Europe by Chapter Two focuses on the gists have articulated since the 1980s. He the early eighteenth century” (25), then Enlightenment and its contribution to focuses on the style category of “exoti- digresses in rapid succession to the dis- a revolution in the representation of the cism,” arguing that the usual ahistorical covery of the New World, the role of West’s Others. Among these shifts is treatment of this concept is misleading. cartography in the Enlightenment, the the development of a “scientific,” rath- “The underlying reasons why a particu- influence of the Copernican revolution er than religious, approach to anthro- lar musician interacts with musics from on the Renaissance, and music theory pology. Rather than divide the world another culture in a certain way are cul- in the seventeenth century. Finally, five into Christians and non-Christians, tural, historical, and social—not to men- pages later, Taylor arrives at this more Enlightenment thinkers posited stages tion situational and contingent—and carefully delimited argument: “the begin- of development of mankind, and they cannot be easily grouped into ahistorical ning of the seventeenth century witnesses identified non-Western peoples with pre- or transhistorical ‘modes’” (6). Taylor not only the birth of modernity but the vious stages of development of European organizes the book as a series of case stud- rise of tonality as the dominant musical civilization. Using these ideas as a base, ies illustrating three different contexts for system and the development of opera, Taylor argues that it is a mistake to regard encounters between Western music and as well as the growth of colonial terri- the use of “Turkish” music in the works its Others: colonialism, imperialism, and tories and administration by what were of Mozart and others as a stylistic fad. globalization. The musical works and to become the most powerful nations of Rather, the “Turkish” idiom serves as practices considered in the case studies modern Europe, England and France” “the all-purpose ‘exotic’ music” (50) for are eclectic in origin; Taylor “goes where (30). Taylor puts this argument to the a variety of composers in the eighteenth the power of representation is” (1). In the test with an excellent reading of a masque century. Taylor fleshes out his argument first half of the book he is concerned with by English composer William Lawes, with well-chosen examples by Rameau, European art musics from the sixteenth Britannia Triumphans (1638), in which Mozart, and Beethoven. In his extended to early twentieth centuries, while the changes in tonal center provide a musi- reading of Mozart’s Die Entführung aus second half he is primarily concerned cal language to accompany a text about dem Serail, Taylor finds the use of the with the international popular music English aspirations for greater naval Turkish idiom in a celebratory manner business of the recent past. power. at the end of the opera significant. “The One of the strengths of Beyond The chapter ends well, but I am not Others’ music can become the music that Exoticism is that Taylor calls attention to convinced that all of the twists and turns celebrates its own defeat, or … reconcili- ways in which Western music can imply a of the argument lead to the final con- ation under the guise of Enlightenment relationship with the music of the West’s clusion. In particular, I find distracting universalism” (65). Such a reading has Others, without actually attempting to Taylor’s invocation of the discovery of obvious consequences for an interpreta- represent the actual sound of the musics the New World as background to the rise tion of the finale of Beethoven’s Ninth of the Others. As Taylor argues, “exoti- of tonality and opera. While individual Symphony, a central Enlightenment text. cism” as a style category focuses on the Italians such as Columbus, Vespucci, Chapter Three moves forward in time surface manifestations of Otherness—ste- and Verrazzano certainly participated in to the “age of imperialism,” 1875 to reotyped representations of the musical the European colonization of the New 1914. Taylor is concerned with a number sound of the Other—without revealing World, they worked under Spanish or continued on page 50

The Bulletin of the Society for American Music • Vol. XXXV, No. 3 49 continued from page 49 the history of ideas about music since performed by black musicians), and in the eighteenth century, suddenly appears the eyes of the music industry, country of historical shifts that take place in this more than twenty pages into the chapter. music fails on all three counts. Taylor brief period: “The new form of consump- “Aesthetics is a kind of commodification points out that class distinctions among tion of the late nineteenth century and machine: it strips everything of history, white people are at work: the rock and early twentieth, coupled with the rise of culture, and the social to render it fit world music aesthetic appeals to middle- imperialism, gave composers and other for commodification, or appropriation” class whites, while country is the music of artists a way to deal with non-European (102). If the history of aesthetics is this working-class whites. Within this middle- Others: aesthetics permitted these artists central to the story of Modernism (and I class aesthetic, to appreciate the musics to keep Others at arm’s length, while agree with Taylor that it is), then perhaps of foreign, nonwhite people is to demon- at the same time giving them an ide- this material should play a larger role in strate one’s cosmopolitanism and educa- ology that facilitated appropriation of the chapter. tional capital, while to listen to country these Others’ cultural forms” (104-5). He Much of the second half of Beyond music is risk denunciation as tasteless and associates these developments with sty- Exoticism extends Taylor’s earlier work on politically reactionary. The exception is if listic characteristics of Modernism such the “world music” genre, such as Global country music can be reframed as “folk,” as the demise of tonality and influences Pop: World Music, World Markets (1997). a genre that can enter the rockist fold from certain non-Western musics. Taylor In Chapter Five, he documents a shift in because of its connotations of authentic- contrasts the experiences of Modernists recent years from “authenticity as primal- ity and leftist political activism. in Paris with those in Vienna: “Unlike ity” (163) toward “collaboration” and Finally, in Chapter Seven, Taylor the Hapsburg Empire whose seat was “hybridity” as new modes of authentic- describes the increasing use of a synthetic, Schoenberg’s home, people in France ity in the World Music genre. At first nonspecifically exotic music in television had a greater awareness of other peoples glance, this shift might allow musicians advertisements. Such music often features and other cultures as a result of French from outside the West to step outside female or children’s voices singing in an colonialism … there was a long history of the “savage slot” (143) in Westerners’ invented language, drums, or a wooden incorporating sounds from other musics imaginations. In an ideal world, perhaps flute. Taylor connects this music to a con- into art musics” (86). Was it the case that “hybridity” can allow for the crossing of viction in the business world that “global in Vienna, memories of warfare with the two equally important sources to produce informational capital” (202) is necessary Ottoman Empire remained fresh enough a sui generis result. However, Taylor argues for success in a globalized world. “Just that musicians were not as inclined to that in practice, the concept of hybridity as the advertising world musics that I embrace exotic subjects and techniques? becomes another way that the Western have been studying aren’t traceable to Taylor also gives some attention to the music industry keeps Others subordinate. any particular nonwestern place or places United States, convincingly revising the It describes, not the crossing of equals, but but nonetheless symbolize ‘world music,’ usual interpretation of Charles Ives and the crossing of an unmarked, “culture- global informational capital isn’t knowl- Henry Cowell as fellow experimentalists free” whiteness with a marked, “cultural” edge of a real place or places but stands in sharing common aims. “This is … a judg- Otherness. “If people with dark skin for that knowledge” (203). Of all the case ment based on style, not what actually make a stylistically hybrid music, their studies in the book, I find this one the might be going on in the music result- music is world music; if white people, most intriguing, since Taylor has applied ing from the underlying culture, history, particularly superstars like Paul Simon or ethnographic techniques to a business and social relations that make a particu- Peter Gabriel, make a stylistically hybrid setting where anthropologists and ethno- lar composer’s practices possible” (105). music, their music is anything but world musicologists have not often studied, and In Taylor’s reading, Ives approached his music—it is Simon’s music, or Gabriel’s where the usual classifications of musical musical sources (popular songs, hymns, music: rock” (160). Thus the category of style are little help. European symphonies) as commodified “world music” starts to appear like a way In summary, this is an important book aesthetic material to be manipulated in a of keeping non-Western musicians out of that deserves careful attention from eth- materialistic manner, while Cowell (espe- the lucrative “rock” category. nomusicologists, historical musicologists, cially in his United Quartet) applied an Chapter Six is a penetrating look at and scholars of popular music. Taylor anthropological concept of cultural rela- why the world music genre almost always deserves commendation for having the tivism to his non-Western musical sourc- excludes any music that sounds like courage to tackle messy but important es, in search of not just exotic sounds but American country music. Taylor’s argu- questions that are not easily addressed radically different ways of structuring a ment is both provocative and convincing: within our current disciplinary struc- musical work. the category of “world music” assumes tures. My criticism of a few of Taylor’s As in Chapter One, Taylor’s arguments some of the same cultural presupposi- arguments should not detract from the are sharpest at the level of the individual tions as the category of “rock.” “Country impressive accomplishment of the work case, and he tends to digress when treat- musics … are viewed as musics by pre- as a whole. Research into the cultural ing larger themes. While the chapter moderns of the West who have been contexts of Western music from the six- is ostensibly about imperialism, urban- spoiled by modern, western commercial teenth century to the present will be the ization, and consumption in the late culture and, sadly, don’t know it” (163). lifelong project of many scholars, and nineteenth and early twentieth centu- The rock-based category of world music Beyond Exoticism has contributed might- ries, a section headlined “A Side Trip privileges music that is noncommercial, ily to this project. into the Rise of Aesthetics,” dealing with political, or black (in style, if not actually

50 The Bulletin of the Society for American Music • Vol. XXXV, No. 3 bulletin board Peter H. Bloom, flutist, recently pre- College and Research Libraries (ACRL) 2009 or early 2010). sented several premieres of American as well as President of the Zeta Beta music, including four works by com- Chapter of Beta Phi Mu, the interna- Katherine K. Preston has been appoint- poser-clarinetist Karl Henning: Heedless tional honor society of library and infor- ed the William J. Bouwsma Fellow at Watermelon (flute & clarinet), stars & mation science. the National Humanities Center in guitars (bass flute & harp, with harpist Research Triangle Park, North Carolina Mary Jane Rupert), The Angel Who Bears John Koegel’s book Music in German for the 2009-2010 academic year, where a Flaming Sword (solo alto flute), and Immigrant Theater: New York City, 1840- she will be working on a project titled Radiant Maples (flute, clarinet, harp & 1940 was published in June 2009 in “Against the Grain: Women Managers piano). With the Aardvark Jazz Orchestra, the Eastman Studies in Music series by and English-Language Opera in Late Bloom performed new works by music the University of Rochester Press, along Nineteenth-Century America.” She just director Mark Harvey, including Bailout with a CD of German-American immi- returned from the Netherlands, where Blues, while also saluting the 110th birth- grant-themed theater songs. In sum- she taught at the University of Leiden day of Duke Ellington with classics and mer 2009, Koegel was awarded a Los for spring semester as the Walt Whitman rarities by the Maestro. A special event Angeles Westerners Research Fellowship Distinguished Chair of American Culture of the Aardvark season (Bloom’s 32nd by the Autry National Center of the on a Fulbright Fellowship. year with the band) was a live-improvised American West (Los Angeles), to work composition led by New York conductor- on his MUSA edition Mexican-American John Schumann underwrote a con- composer Walter Thompson using his Music in the Lummis Cylinder Collection. cert of music by composers having an innovative Soundpainting method (a sys- American connection—native son Arthur tem of more than 1000 gestures used by Ralph P. Locke’s new book, Musical Foote’s Piano Quartet, Op. 23 (1890), the conductor to elicit different types of Exoticism: Images and Reflections immigrant Erno Dohnanyi’s Serenade for improvisation). (Cambridge University Press), has received String Trio, Op. 10 (1903), and Antonin praise from pre- and post-publication Dvořák’s Piano Quintet, Op. 81 (1888)— James Deaville received a three-year grant reviewers. Chapters 9 and 10 of Musical in Portland, OR on May 22, 2009 as a from the Social Sciences and Humanities Exoticism focus, in part, on concert works benefit for All Classical Public Media. Research Council of Canada to con- by American composers and on exoticism This provided an opportunity to hear duct research and publish a monograph in other streams of American musical Foote’s music in the context of other about television news music, under the life. Locke also edits the Eastman Studies works written in the same era, and was project title “Pitching the News: Music, in Music series, whose history he details performed by Portland-based musicians Television, and the Shaping of American at http://frombeyondthestave.blogspot. Keiko Araki and Paloma Griffin, violins, Public Opinion.” com/search?q=eastman+studies. Adam Hoornstra, viola, Justin Kagan, Jane Riegel Ferencz won the University cello, and Julia Hwakyu Lee, piano. All of Wisconsin-Whitewater College of Olivia Mattis curated an exhibition Classical Public Media can be heard on- Arts and Communication Excellence at SUNY-Stony Brook last April called line at www.allclassical.org. in Teaching Award for Spring 2009. “Pops to Lady Day: Portraits in Jazz,” An Assistant Professor of Musicology, featuring vintage photographs of doz- Paul Wells presented “Does Place she was also a finalist for the 2009 ens of jazz greats by William Gottlieb, Matter? Perceptions and Realities of W.P. Roseman Excellence in Teaching Chuck Stewart, Jeanne Moutoussamy- Music in Small Towns,” the keynote Award. A five-time winner of the Music Ashe and others as well as paintings by lecture at “’The Train Just Don’t Stop Department teaching award, she has been Al Jones. This event, covered in The New Here Anymore’: An Interdisciplinary honored previously by the campus for York Times, was a sequel to Mattis’ criti- Colloquium on the Soundscapes of Rural her teaching, as a finalist for the Everett cally-acclaimed exhibition “Gershwin to and Small-Town America,” at Millikin Long Award for Excellence in General Gillespie: Portraits in American Music” University in Decatur, Illinois, on April Education Teaching (2008) and the win- that opened at the George Eastman 3-4, 2009; and published a book review ner of the campus Excellence Award for House in Rochester in 2005 and toured of Chief O’Neill’s Sketchy Recollections of Instructional Academic Staff (2002). the country for three years. an Eventful Life in Chicago, edited by Ellen Skerrett and Mary Lesch, eds. with William J. Gibbons was awarded a Anne Dhu McLucas recently attended Sally K. Sommers Smith in Irish Literary Mellon/ACLS Early Career Program the European Society for the Cognitive Supplement 28 (Spring): 26. Dissertation Fellowship for his disser- Science of Music) conference in Jyskävylä, tation, Eighteenth-Century Opera and where she presented “The intersection the Construction of National Identity in of meaning, emotion, and memory in France, 1875-1918. musical oral tradition” and “The Brain, Memory, and Oral Tradition in Music;” Melissa Ursula Dawn Goldsmith is both based on research she has done for now Vice President/President Elect of the her forthcoming book: The Musical Ear: Louisiana Chapter of the Association of Oral Tradition in America (Ashgate, late

The Bulletin of the Society for American Music • Vol. XXXV, No. 3 51 conference calendar CFP: Theatre Survey invites submis- of British music from various academic scholarship are welcome. Likewise, we sions for a special issue dedicated to fields and locales for three days of papers, invite submissions representing a variety recent critical approaches to the histori- discussions, and musical performances. of approaches and perspectives: history, ography of opera. Our primary interest We welcome papers examining all time theory and analysis, philosophy and the- for this issue is to showcase how con- periods of British music and musical ology, ethnomusicology, critical theory, temporary historians and theatre schol- life, all geographical regions of Britain, and the like. Papers will be 25 minutes ars confront and renew the study of and all uses of British music outside of long. Proposals for panels are also wel- opera at the beginning of the twenty-first Britain. Papers that draw upon interdis- come. For more information, visit www. century. Please send full papers (25-40 ciplinary or broader cultural contexts are fmcs.us pages) and a a brief abstract of the essay particularly welcome, as are papers on (ca. 250 words) in .doc format to Leo figures celebrating important anniversary Conference: Heavy Metal and Cabranes-Grant at CabranesASTR@aol. years in 2010 (including Thomas Arne, Gender will take place October 8-10, com no later than October 1, 2009. Samuel Sebastian Wesley, and Rutland 2009 at the University of Music Full submission guidelines are available Boughton). We also encourage students Cologne / Hochschule für Musik Köln, at http://www.astr.org/Publications/ to submit papers; the best student paper Germany. For full information, visit TheatreSurvey/tabid/101/Default.aspx presented at the NABMSA conference will www.historyherstory.de and http://journals.cambridge.org/ be awarded the Temperley Prize. Abstracts action/displayJournal?jid=TSY. of up to 500 words for 20-25 minute indi- Conference: The School of vidual papers, for paper sessions, or for Music, University of Leeds will CFP: Conversations 2101: The lecture recitals should be sent by February host a Film Music Conference on Michigan Interdisciplinary Music Society 1, 2010, to Charles McGuire, Oberlin November 6, 2009. The keynote speaker will host its fourth annual Conversations College, 77 W. College St., Oberlin, OH will be composer Ilan Eshkeri (Layer in Music Scholarship conference February 44704; or send an e-mail to cmcguire@ Cake, Hannibal Rising, Strength and 5-6, 2010, at the University of Michigan oberlin.edu. For additional information Honour, Stardust, Virgin Territory, The in Ann Arbor. The conference will feature about the conference, see www.nabmsa. Young Victoria). The conference will a keynote address given by Kofi Agawu, org. include a presentation on the Michael as well as a graduate-student workshop Nyman Archive of film score mate- directed by Ramon Satyendra. Proposals CFP: The First International rials held at the University of Leeds, for papers on or combining the topics Conference On Analytical Approaches and a short concert in the School of of music theory, musicology, ethnomu- To World Music will take place February Music’s magnificent Clothworkers sicology, and related fields are welcome. 20-21, 2010 at the University of Centenary Concert Hall. New scores Interdisciplinary music research is partic- Massachusetts-Amherst. The conference for short silent films will be performed ularly encouraged. Presentations should seeks to expand the potentials for musical live to screen. For full information, visit last 20 minutes, followed by approxi- analysis from a cross-cultural perspective http://www.leeds.ac.uk/music/filmmusic mately ten minutes for questions and by applying diverse theoretical and ana- discussion. Submissions must be made lytical concepts to repertoires outside the Conference: The College of Staten electronically, and sent by November 20, Western art music tradition. We welcome Island and the CUNY Research 2009. The cover letter should be includ- submissions that examine world musical Foundation will present The Louis ed in the body of the email, and the traditions from a wide variety of analyti- Armstrong Symposium on November abstract (and any supplementary materi- cal and theoretical perspectives. Papers in 21, 2009. Dan Morgenstern, Director als) attached to the email in .doc or .pdf English, not exceeding 20 minutes dura- of the Institute of Jazz Studies at Rutgers format. Before sending, please be certain tion, should emphasize analytical and/or Newark will deliver the Keynote Address. that all attached files will display and theoretical issues pertinent to a particular For full information, contact Linda Soria print clearly, and that they are free of any musical culture. Proposals for individual at TheArmstrongSymposium@gmail. indication of authorship. Send electron- papers, not exceeding 700 words (exclud- com. ic submissions to: conversations2010@ ing examples) together with a short biog- umich.edu. For more information, visit raphy should be emailed no later than http://sitemaker.umich.edu/conversa- October 1, 2009 to: Margaret Farrell tions2009/home. (Program Committee Chair) at mfarrell@ gc.cuny.edu CFP: The North American British Music Studies Association (NABMSA) CFP: The Forum on Music and will hold its Fourth Biennial Conference Christian Scholarship seeks proposals for from July 29-August 1, 2010 at Drake its upcoming annual meeting, which will University in Des Moines, Iowa. take place at Boston University from NABMSA’s fourth conference will once February 26-27, 2010. Papers on any again bring together scholars and lovers topic pertaining to music and Christian

52 The Bulletin of the Society for American Music • Vol. XXXV, No. 3  New from OXFORD MEETING JIMMIE RODGERS How America’s Original Roots Music Hero Changed the Pop A SONG IN THE DARK Sounds of a Century The Birth of the Musical Film BARRY MAZOR Second Edition “A shrewd, hard-headed look at the great RICHARD BARRIOS Mississippi singer’s influence on country, “A Song in the Dark deals engagingly with rock and roll and folk music. Mazor adeptly its colorful and fascinating subject, and it is combines solid research, musical savvy and illuminating not only on artistic concerns, a stubborn refusal to accept received wisdom about popular but on business and technical ones as well, including the music that Jimmy Rodgers helped invent.” process by which many of these films, previously declared —American Songwriter lost, have been found and restored. It makes an effective 2009 384 pp. 15 halftones Hardback $27.95 case for a re-examination of this audacious, excessive and underappreciated moment in motion picture history.” —New York Times FROM SERRA TO SANCHO 2009 496 pp. 76 halftones Paperback $27.95 Music and Pageantry in the California Missions HOW THE BEATLES CRAIG H. RUSSELL DESTROYED “Craig Russell presents us with both a ROCK 'N' ROLL remarkable scholarly study of music from An Alternative History of the twenty-one missions and also a body of American Popular Music new performing editions of a number of works never before published. This new ELIJAH WALD volume sets a ‘gold standard’ for research and scholarship on “Invaluable. It forces us to see that only by this fascinating epoch in American music history. ” studying the good with the bad—and by —Professor William John Summers, Dartmouth College seeing that the good and bad can’t be pulled 2009 480 pp. 36 halftones 41 lines Hardback $65.00 apart—can we truly grasp the greatness of our cultural legacy.” —Malcolm Jones, Newsweek 2009 336 pp. 32 halftones Hardback $24.95 ENCHANTED EVENINGS The Broadway Musical from ‘Show Boat’ to Sondheim CAJUN BREAKDOWN and Lloyd Webber The Emergence of an Second Edition American-Made Music GEOFFREY BLOCK RYAN ANDRÉ BRASSEAUX “I can’t think of another book, on any “In Cajun Breakdown, Ryan Brasseaux subject, in which the author shows such eloquently traces the history of Cajun firm control over his materials, in this people and their music from their arrival case scholarly as well as journalistic in Louisiana in 1764 to the present. His writing on the Broadway musical, reviews of shows, fine book firmly establishes Cajun music correspondence, the music itself, and archival materials as a central part of mainstream American culture.” of various sorts relating to the early stages of creation. —William Ferris, University of North Carolina at Chapel Hill Enchanted Evenings is fascinating, original, compelling.” 2009 336 pp. 43 halftones Hardback $35.00 —Charles Hamm, Professor Emeritus of Music, Dartmouth College, and author, Irving Berlin: 1907-1914 2009 480 pp. 15 halftones 64 lines Paperback $27.95

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The Bulletin of the Society for American Music • Vol. XXXV, No. 3 53 J & J Lubrano Music Antiquarians Currently offering for sale Archives of Contemporary American Composers John Corigliano, Richard Danielpour, David Del Tredici, David Felder and Steve Lacy

John Corigliano (born 1938) ran away from a Kentucky farm in 1856, a source 63 autograph musical manuscripts and sketches, for Ms. Morrison’s 1987 Pulitzer prize-winning being the majority of works composed to date, novel Beloved. including the Academy award-winning Concerto for Violin and Orchestra: The Red Violin; The David Del Tredici (born 1937) Clarinet Concerto; Symphony No. 1; Symphony An extensive archive of autograph working No. 3; Circus Maximus; Mr. Tambourine Man: 7 manuscripts and sketches encompassing Poems of Bob Dylan; a complete manuscript of virtually the composer’s entire career his opera The Ghosts of Versailles commissioned and including a voluminous amount of by the Metropolitan Opera; works for various correspondence, contracts, programs, performing ensembles, etc. photographs and associated material. Some of Del Tredici’s best-known works include those Richard Danielpour (born 1956) based on Lewis Carroll’s Alice books, such as An 19 autograph musical manuscripts, representing Alice Symphony; Vintage Alice and In Memory of the majority of the composer’s most significant A Summer Day (Part I of Child Alice); music set orchestral and chamber music works composed to the verse of contemporary American poets from 1993-2001, including An American including Gay Life; Brother and Wondrous the Requiem; Anima Mundi; As Night Falls; Merge; and Paul Revere’s Ride. Canticle of Peace; Celestial Night; A Child’s Reliquary; Concerto for Cello and Orchestra; David Felder (born 1953) Concerto for Orchestra— Zoroastrian Riddles; An archive of autograph musical manuscripts Concerto for Violin and Orchestra; Elegies; and sketches consisting of materials relating In the Arms of the Beloved; Portraits—Maya to 31 works, representing virtually all of the Angelou Songs; Songs of Solitude—Yeats Songs; composer’s output to date, including Shamayim, Spirits in the Well / Feast of Fools; String Insomnia, Stuck-stuecke, So Quiet Here, Quartet # 3—Psalms of Sorrow; Sweet Talk—Toni Dyonysiacs, RRRings, Memento mori, Partial Morrison Songs; Urban Dances—Manhattan [Dist]res[s]toration, Shredder, Incendio, In Moon Dance and Book II; and The Zodiac. In Between, a pressure triggering dreams, Three addition to this archive, we are also offering the Pieces for Orchestra, Linebacker Music, Inner autograph musical manuscript of the composer’s Sky, Canzone XXXI, November Sky, Six Poems highly-acclaimed opera, Margaret Garner, with from Neruda’s Alturas, Journal, Between, Third text by the distinguished Nobel Laureate Toni Face, Another Face, Three Lines from Twenty Morrison, based on the true story of a slave who Poems, La Dura Fria Hora, Crossfire, Boxman,

54 The Bulletin of the Society for American Music • Vol. XXXV, No. 3 Coleccion Nocturna, Passageways II [and I], Rocket Summer, and Rondage/Cycle. Together with a collection of demo … We welcome your inquiries … recordings in CD format and DAT tapes of performances Please visit our website at of Felder’s works; cassettes, video and reel-to-reel tapes w w w . l u b r A n o m u s i C . C o m of recording sessions; and source materials used in compositions. Over 200 items in total, many of which are not commercial available.

Steve Lacy (1934-2004) Also offering The complete archive of the highly-innovative American composer and soprano saxophonist, consisting of autograph First and Early Editions musical manuscripts of Lacy’s works (some in quite of Printed Music idiosyncratic format); Lacy’s autograph textual writings Autograph Musical including poetry and essays on various artists; diaries and Manuscripts and address books; tour books; printed material relating to the Letters of Composers works, including many typescript lyrics; concert programs and related materials; correspondence from many noted musicians, Rare Books, Prints, artists, and poets, especially those associated with the Photographs, Drawings “Beat” movement; audio cassettes; photographs and original and Ephemera relating artwork by Lacy’s friends and associates. Closely identified to Music and Dance with free-jazz and the avant-garde, Lacy is considered one of the foremost performers on the soprano saxophone and, in fact, inspired John Coltrane to adopt the instrument. His highly individualistic writing for the instrument is legendary. Lacy worked with many of the most distinguished figures in J & J Lubrano jazz of the period, including Thelonius Monk (possibly his Music Antiquarians greatest inspiration), and also with Cecil Taylor, Gil Evans, 351 West Neck Road, and Don Cherry. His compositions include works for solo Lloyd Harbor, ny 11743 u.s.a. instruments as well as for both large and small ensembles. Phone 631-549-0672 Lacy also composed more than 125 songs, many to texts by Fax 631-421-1677 contemporary poets; those with whom he was most closely [email protected] associated include Robert Creeley and Brion Gysin. He also drew upon the works of many other writers, including the “Beat” poet William S. Burroughs. Lacy enjoyed an extremely close working relationship with his cellist-singer wife Irène Aebi for close to four decades who, with her unique vocal style, Established 1977 was a strong influence on his writing.

The Bulletin of the Society for American Music • Vol. XXXV, No. 3 55 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

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Further information is available at the Irving Lowens Memorial Awards Student Travel Grants website (www.american-music.org) or by The Irving Lowens Award is offered by the Grants are available for student members contacting the SAM office. Society for American Music each year for a who wish to attend the annual conference book and article that, in the judgment of the of the Society for American Music. These awards committee, makes an outstanding funds are intended to help with the cost H. Earle Johnson Bequest for Book contribution to the study of American music Publication Subvention of travel. Students receiving funds must be or music in America. Self-nominations are members of the Society and enrolled at a This fund is administered by the Book accepted. Application deadline is February college or university (with the exception of Publications Committee and provides 15th. doctoral students, who need not be formally two subventions up to $2,500 annually. enrolled). Application deadline is January 1. Application deadline is November 15th. Wiley Housewright Dissertation Mark Tucker Award Sight and Sound Subvention Award This award consists of a plaque and cash The Mark Tucker Award is presented at This fund is administered by the Sight and the Business Meeting of the annual SAM Sound Committee and provides annual award given annually for a dissertation that makes an outstanding contribution conference to a student presenter who has subventions of approximately $700-$900. to American music studies. The Society written an outstanding paper for delivery for American Music announces its annual at that conference. In addition to the competition for a dissertation on any topic recognition the student receives before the relating to American music, written in Society, there is also a plaque and a cash English. Application deadline is February award. 15th, for dissertations completed between 1 January and 31 December of previous year.

56 The Bulletin of the Society for American Music • Vol. XXXV, No. 3