JSAM Launches The Bulletin in February OF THE S OCIETY FOR A MERICAN M USIC FOUNDED IN HONOR OF O SCAR G . T. S ONNECK

Vol. XXXIII, No. 1 Winter 2007 2007 SAM Honorary Member: Thomas Hampson … And other conference news The Society for American Music is pleased to announce that Thomas Hampson will be our Honorary Member for 2007. Hampson is an internationally renowned baritone and has long been an enthusiastic advocate of American music – his most recent project being his popular “Song of America” tour (see article on page 4). Hampson was recently inducted We are delighted to announce the inau- into the European Academy of Sciences gural issue of the Journal of the Society and Arts, is an honorary member of of American Music (JSAM), published London’s Royal Academy of Music, and by Cambridge University Press. JSAM bears the titles of Kammersänger of the is an international, interdisciplinary, Vienna State Opera as well as Chevalier peer-reviewed journal dealing with all de l’ordre des arts et des letters by the aspects of American music and music in Republic of France. In 2004 he was the Americas. Volume 1, Number 1 will awarded the Austrian Medal of Honor appear in February 2007 and features in Arts and Sciences, and in 2005 he articles by Christopher Reynolds on received the Netherlands’ Edison Award Gershwin’s Porgy and Bess; Denise Von for Life Achievement. He also holds Glahn and Michael Broyles on musical honorary doctorates from Whitworth modernism and Leo Ornstein; George College, Spokane, Washington, and the E. Lewis on Pamela Z; and Suzanne San Francisco Conservatory. Robinson on John Cage in New York. Mr. Hampson will be honored at the The issue will also feature reviews of SAM/MLA Conference in Pittsburgh dur- © Michael Dames books, recordings, and multimedia items. ing a special plenary session on Thursday The full contents are available at: http: afternoon at 1:00 p.m. We hope that all //www.american-music.org/publications/ attendees will share in this celebration of journal/jsam-1-1-toc.php. his work. Other conference highlights include There will be two informational sessions the following: about JSAM at the conference: • The traditional Wednesday eve- ning reception, for all SAM and MLA Thursday, 3:00-4:00 pm attendees. “JSAM: Launching a New Era in • A Thursday plenary session to American-Music Scholarship” open the conference and a special pre- Chair: Ellie Hisama, Editor, JSAM sentation of John Cage’s Chess Pieces, with a performance by Margaret Leng Friday, 7:30-8:30 am Tan. “JSAM Presidential Q & A” continued on page 2 Host: Michael Broyles, President, SAM “Honorary Member” continued from page 1 University Press, we will celebrate the launch of the Society’s new jour- “Please Step up to the Mic” nal, the Journal of the Society for at the Pittsburgh conference American Music (see article on page 1). The post-banquet entertainment In September 2003 the Board of the Society © Jake Ricci Jake © will feature music by Etta Cox and the for American Music, under the leadership Al Dowe Quintet. of then president Carol Oja, initiated a • A double shot of Gershwin on history project aimed at gathering recol- Sunday morning, as well as the first lections and materials from our founding session to be sponsored by the new members. The information would become SAM Film Music interest group. part of the Society’s permanent archive at the Library of Congress. Surveys were We hope you will come early and stay sent out, interviews conducted, and at late! For more details, please visit the con- conferences in Cleveland 2004, Eugene ference websites: www.pitt.edu/~mla2007 2005, and Chicago 2006 the history or www.american-music.org. See you in project sponsored formal sessions where Pittsburgh! panelists shared their memories of the earliest days of the society. Over the years

© Jennifer Girard Jennifer © we heard from Raoul Camus, Margery Morgen Lowens, Deane Root, Cynthia Adams Hoover, Richard Crawford, Wiley Hitchcock, Judith McCulloh, Kitty Keller, Barbara Lambert, as well as others who Featured composers Roger Zahab and Amy stepped up to the microphone in the open Williams. conversations that followed those ses- sions. And we’ve got it all on tape (audio and video), which will also become part • Thursday evening concert at of the Society’s archives. the University of Pittsburgh featuring Now it’s your turn. The SAM History two newly commissioned works by Project has set aside Friday, 2 March 2007 Roger Zahab (who will also be con- beginning at 1:00, for an “open mic” and ducting the University of Pittsburgh invites all those who are interested to Orchestra) and Amy Williams. The record their recollections, impressions, concert will also feature works by two and thoughts regarding the Society’s other Pittsburgh composers, Anthony beginnings, its present incarnation, and Philip Heinrich and Stephen Foster. Etta Cox with the Al Dowe Quintet will its future possibilities. We’d be interested Following the concert will be a recep- be providing entertainment on Saturday to know: What brought you to your first tion at the William Pitt Union (built in evening. 1898 as the Schenley Hotel) sponsored continued on page 3 by the University Library System, Dr. Rush Miller, Director. • The tours! In addition to those sponsored by the MLA on Wednesday, SAM will be offering a tour of eth- nic neighborhoods in Pittsburgh on Friday afternoon, as well as a tour of notable structures on the campus of the University of Pittsburgh (including the Stephen Foster Memorial) and the Carnegie Library. • The annual Silent Auction (please bring items to donate!), which will feature some notable items includ- ing tickets to the NY Philharmonic and the Metropolitan Opera. • Saturday evening reception. Co- hosted by the Society and Cambridge

2 The Bulletin of the Society for American Music • Vol. XXXIII, No. 1 The Bulletin of the Society for American Music • Vol. XXXIII, No. 1 3 “Step up to the Mic” continued from page 2

conference? What were your hopes for FROM THE PRESIDENT the Society for American Music? What were your first impressions? How did Only this morning I was looking through people talk about “American” music you see yourself in the Society? How do some journals and magazines from the today, they are more and more likely you see the Society in five years, in ten 1950s and 60s, and it struck me just to mean music of all of the Americas; years? how much both our world and our field likewise, when we talk about American All members of the Society are have changed since then. As late as the music scholarship, we need to recognize encouraged to participate. There is no 1960s musicology was still very much the excellent scholarship emanating requirement that one be a founding or a German discipline. My own personal from all parts of the Americas. early member, or even a member of par- experience certainly bore that out, as SAM can take pride in being ticularly long standing. We want to hear three of my four principal mentors out in front of many issues, its very from as many members of the Society as we can. As with all History Project ses- were immigrants trained in Germany championing of American music being sions, it will be audio and video taped. who had held positions in German one of the most important. I can look Please mark the date and time, and universities. American musicologists back on an academic career of nearly sign up for your own moment on screen. came to the fore in the 1960s, led by forty years (which I find scary!), and If you have any questions, please e-mail the revolutionary upheaval that Joseph I find myself still excited by change, Denise Von Glahn, chair of the SAM Kerman fomented. We can no longer by what is happening in our discipline, History Project, at: Denise.VonGlahn@ discern such nationalism in American what is happening in SAM, and what fsu.edu. musical scholarship, however. Not only is happening I hope with my own do American music scholars come from creativity. History is now, and you are part of it. all parts of the world, but American In many ways SAM is at a music can be found almost everywhere. crossroads: Like each one of us, SAM is following suit: Our journal has our Society’s health depends on us widened its scope, and continues to do continuing to grow: to attract new so, and we have members on at least members and also to provide an four continents. What makes music organization for those like me, who American versus some other category have been around a while, but who has become more and more difficult are still interested in our Society, its The Society for American Music is to discern, although something called purpose, and the music we love. American music will always be at the – Michael Broyles pleased to welcome these new members: core of SAM. We need to think about American Students: music in the broadest sense. When

Dennis Cole, Kent, OH Matthew Jones, Athens, GA Carrie Stubblefield, Chapel Hill, NC Jeremy Smith, Durham, NC William Gibbson, Chapel Hill, NC The Bulletin of the Society for American Music Douglas Shadle, Durham, NC Margaret Pedlow, State College, PA The Bulletin is published in the Winter (January), Spring (May), and Summer (September) by the Society for American Music. Copyright 2006 by the Society for American Music, ISSN Individuals: 0196-7967. Editorial Board Jeffrey Noonan, St. Louis, MO Editor ...... Sandra Graham ([email protected]) Barbara Haws, New York, NY Sonya Lawson, Westfield, MA Bibliographer...... Joice Waterhouse Gibson ([email protected]) Ruth Friedberg, San Antonio, TX Indexer ...... Amy C. Beal ([email protected]) Christopher Rockwell, Brooklyn, NY Items for submission should be addressed to Sandra Graham, Music Department, Sabine Feisst, Tempe, AZ University of California, Davis, CA 95616, or, preferably, submitted as an attachment to Christopher Reali, Oakland Gardens, e-mail. Photographs or other graphical materials should be accompanied by captions and NY desired location in the text. Deadlines for submission of materials are 15 December, 15 April, and 15 August.

2 The Bulletin of the Society for American Music • Vol. XXXIII, No. 1 The Bulletin of the Society for American Music • Vol. XXXIII, No. 1 3 In announcing the tour, Billington Dreamer” and the beloved folk anthem Bravo for said, “America is a wellspring of new “Shenandoah,” as well as rarities such “Song of America”: ideas in music, literature, poetry, film as “My Days Have Been So Wondrous and other forms of artistic expression. We Free,” by Francis Hopkinson, one of Tour Took Library across want to celebrate the energy and inventive America’s first native-born composers, a the Nation spirit that are such an integral part of our friend of George Washington and a signer – Jan Lauridsen and Stephanie Poxon cultural history, and I cannot think of a of the Declaration of Independence. Music Division, Library of Congress more accomplished ambassador for this Concert encores provided opportunities initiative than Tom.” for tunes with local flavor, such as Cole The “Song of America” tour, a partnership of Thus was born the concept for the Porter’s “Don’t Fence Me In,” which the Library of Congress and Thomas Hampson, “Song of America” tour, which brought Hampson sang in Fort Worth, Texas, with had its final concert on June 3 at the California musical riches to people across America an over-the-top Western twang. A special Theatre in San Jose, Calif. What began in and which is still reaching new audiences highlight of the St. Paul concert was the Kansas City on 12 Nov. 2005, and traveled to through continued partnerships with insti- world premiere of “A Heartland Portrait,” 10 other cities across the country, ultimately tutions at the 11 venues and with new with text by Poet Laureate Ted Kooser became a model for presenting concerts within “Song of America” online presentations and music by local composer Stephen a rich educational context of master classes, teacher institutes, film events, pre-concert lec- at www.loc.gov/creativity/hampson and Paulus. The composition was commis- tures, and displays of the Library’s treasures. http://memory.loc.gov/cocoon/ihas/html/ sioned for the tour by St. Paul residents The following is an overview of programs and songofamerica/. and James Madison Council members highlights of the tour, which was made possible Thomas Hampson is one of the most Linda and Jack Hoeschler. by the James Madison Council, the Library’s recognized and sought-after baritones At each venue, the Library offered private sector advisory group. of our time. In a career now in its third “Treasures on Tour” – rare items from decade, his performances have set new the Library’s collections for the public In his article titled “My Music” for the standards on operatic stages and con- to view in the concert hall lobby on per- January 2006 issue of Gramophone mag- cert halls the world over. His repertoire formance night. Library curators brought azine, Librarian of Congress James H. encompasses more than 60 opera roles original manuscripts of songs performed Billington succinctly expressed his beliefs and 120 recording projects spanning in the concert, as well as items represent- about the importance of the 11-city “Song many languages and genres. But it is ing the local musical heritage. of America” tour – featuring internation- Hampson’s special passion for American Visitors at each venue saw manu- ally renowned baritone Thomas Hampson song that inspired the selections for the scripts, maps, photographs, and music – which was launched in the fall of 2005. “Song of America” tour. representing their hometown or region “The golden era of American song “The body of this repertoire is that are housed and preserved in the has been largely forgotten – along with about the American experience and the Library of Congress. Library music spe- the style and quality of singing that went American development, the American cialists were on hand to explain the sig- with it. The Library of Congress is, in a psyche,” Hampson has said. “It is always nificance of the items and, in some cases, way, America’s memory. Bringing con- song and storytelling. It is always linked were taught more about them from local certs, manuscripts and sheet music of up to a particular school of thought at musicians and scholars. another era back today is a way of keep- a particular slice of time in the various Each venue had a different dis- ing alive the memory of melody. And it is epochs and generations that make up the play. The one at the Kimmel Center in our way of taking out to the nation more American experience.” Philadelphia featured composers who broadly music that we have not only com- In each recital, Hampson took the had been students at the Curtis Institute. missioned and collected here, but have stage with only a piano accompanist (Craig These included Samuel Barber, Leonard been playing on the radio and here on Rutenberg or Wolfram Rieger at 10 of the Bernstein, and Ned Rorem, whose col- Capitol Hill since the 1920s.” cities and Maestro Daniel Barenboim in lections now reside in the Library. The The concept for the tour originated Chicago, conducting his final recital as St. Paul display included the handwritten in a shared vision of the Librarian of music director of the Chicago Symphony copyright deposit of “Mr. Tambourine Congress and Thomas Hampson: that the Orchestra), but the effect could not have Man” by Minnesota native son Bob rich resources in the Library should be been more poignant. Dylan. utilized and publicized in a new way. As Concert selections, which were tai- In addition to the display, some a scholar of the American “concert song,” lored to each city, included unfamiliar venues presented short pre-concert per- Hampson had researched the Library’s songs by well-established American com- formances by local groups in the concert song collections and became aware of posers, such as Leonard Bernstein, Aaron hall lobby. In Detroit the all-male vocal their vastness and importance as docu- Copland, and Charles Ives, as well as the ensemble “Vision,” from the Detroit ments of the nation’s past. For his part, songs penned by lesser-known but equally School of the Performing Arts, delighted Billington saw a unique opportunity to influential composers, including Harry T. concertgoers with polished renditions of join with Hampson in actively demon- Burleigh and Arthur Farwell. gospel and popular tunes. In Nebraska, strating to audiences around the country There were also well-known favor- the Omaha Chamber Singers filled the the Library’s role in preserving creativity. ites, such as Stephen Foster’s “Beautiful lobby with a cappella harmonies as con-

4 The Bulletin of the Society for American Music • Vol. XXXIII, No. 1 The Bulletin of the Society for American Music • Vol. XXXIII, No. 1 5 certgoers peered over music manuscripts all kinds of collectibles, as well as lists of served in World War II, Korea and and early photographs of Omaha from the further sources of information about con- Vietnam. Library’s collections. servation and preservation. They told me how grateful they were that the Library Film Series Teacher Institutes decided to include Oxford in the tour.” Film presentations in several of the cities Educational programs offered through- highlighted the Library’s national role in out the tour served to put the music in a Master Classes preserving America’s film heritage. Film broader historical context. Teacher insti- Among the most effective and popular audiences were able to see restored vintage tutes conducted by the educational out- events on the tour were Hampson’s mas- films on the big screen such as “Jammin’ reach team from the Library’s Office of ter classes for vocal students. Working the Blues,” “The Happy Hottentots,” and Strategic Initiatives trained teachers and with only a few students in each class, he “What’s Opera, Doc?” They also heard librarians how to use the Library’s online engaged the entire audience in a whirlwind the Librarian of Congress speak about the primary source materials to explore the adventure in the dynamics and aesthetics Library’s National Film Registry and the history of American song in their class- of singing. “Mr. Hampson was really a new National Audiovisual Conservation rooms. Through a mixture of hands-on joy to work with,” exclaimed Kenneth Center opening in Culpeper, Va., in activities and informal tutorials, the work- Maxwell, a participant in the master class 2007. shop modeled methods for researching in Omaha. “I think we crammed a year of Sen. Kay Bailey Hutchison (R- the Library’s online collections using spe- lessons into one hour!” Texas) presided over the film program at cific searching and teaching strategies. In Several master classes and other edu- the Modern Art Museum in Fort Worth, addition, the teachers were shown online cational programs were videotaped and acknowledging the Library’s critical role resources in music and poetry for key will be made available on the Library’s in preserving the nation’s cultural and themes in U.S. history, from the Harlem Web site. intellectual heritage. Renaissance to the campaign trail, from the Civil War to the battle for suffrage. Veterans History Support “I will apply what I learned today The tour schedule coincided with several The “Song of America” tour was gener- in working with the social studies and American holidays, including Veterans ously sponsored by the James Madison music teachers – especially regarding the Day and Memorial Day, providing oppor- Council, the Library’s private sector advi- American Revolution – and I will teach tunities to inform U.S. veterans and their sory group, which was founded in 1990 from the songs and the poetry more than families about the Library’s Veterans to help the Library share its incompa- from the textbook,” vowed one New York History Project (VHP). rable resources with the nation. Suzanne educator who attended the program. Deputy Librarian of Congress Donald Hogan, senior adviser to the Madison Scott, who is a retired Army general; Bob Council, served as project manager for Preservation on Parade Patrick, director of the Library’s Veterans the Hampson tour, providing leadership In some cities, an initiative aptly titled History Project; and VHP staff spoke to and on-the-ground coordination of the “Preservation on Parade” offered con- local veterans groups to publicize the tour’s many facets. servation workshops and displays of Library’s congressionally mandated mis- Additional support came from free publications and materials from the sion to document veterans’ war experi- members of Congress, many of whom Library’s Conservation Division. Visitors ences. participated in events and also sent senior received expert advice from Library con- Live interviews with veterans at each staff members to read welcoming let- servators on the care of musical scores, venue were both enlightening and inspir- ters. In addition to Senator Hutchinson, books, photographs and other memora- ing, and allowed the Library to connect Rep. Betty McCollum (D-Minn.), Rep. bilia; learned how to select proper mat- with veterans around the country in a Carolyn Maloney (D-N.Y.), Sen. Thad ting and framing materials; witnessed meaningful and substantive way. Cochran (R-Miss.), Rep. Roger Wicker demonstrations on how to safely store In Chicago, a program of public (R-Miss.), Sen. Ben Nelson (R-Neb.), archival materials; and gained hands-on interviews with veterans took place at the Rep. Lee Terry (R-Neb.) and Sen. Dick experience in conservation techniques. National Vietnam Veterans Art Museum. Durbin (D-Ill.) attended and presided In Oxford, Miss., Library conserva- Amid paintings, sculptures, photographs over events in their home regions, and tor Alan D. Haley spoke to victims of and drawings by Vietnam veterans, these many other members helped in numerous Hurricane Katrina who had driven up interviews demonstrated the need for both ways to publicize and build audiences for from the Gulf Coast to attend the concert. verbal and nonverbal forms of expressing the programs. He reported, “They described damage and the life-altering experience of war. loss of personal artifacts and collections At the Free Library in Philadelphia, Partnerships in the institutions where they worked, retired Army Lt. Gen. Julius Becton was As a result of the “Song of America” tour, what was lost or recovered and the need interviewed by VHP historian and author the Library has forged new partnerships for further instruction and assistance in Tom Wiener and answered questions from and collaborations with cultural organiza- the area of disaster preparedness and the audience, all of which was recorded tions and institutions across the country. response. I was able to provide numerous for the VHP archives. General Becton, a handouts describing preservation steps for member of the VHP’s Five Star Council, continued on page 10

4 The Bulletin of the Society for American Music • Vol. XXXIII, No. 1 The Bulletin of the Society for American Music • Vol. XXXIII, No. 1 5 NOTES FROM THE NORTH

Musicology Meets tion and materials on original Canadian and digitized score formats, supplemented Technology: Accessing concert music. with short program notes. Commercial Canadian Music Online One of the principle differences recordings and library holdings can also between the American Music Center and be accessed through this site. – Mary I. Ingraham the Canadian Music Centre is that the Additionally, the website includes University of Alberta CMC does not directly fund commissions special educational resources for students to composers, copying, or performances of all ages, teachers, and interested listen- of new works. That funding is offered ers. “Sound Adventure” provides young through other government agencies, such audiences an opportunity to explore sound as the Canada Council for the Arts. And and music and discover ways in which unlike the AMC, the CMC holds only environment inspires musical expres- unpublished music and is not involved in sion. “Sound Progression,” designed for publishing, royalty payments, or licensing a slightly older audience as an introduc- of music. tion to the compositions of 20th-century Organizationally, the CMC is com- Canadian composers, situates audio and prised of one national and five regional score samples within international musi- offices, each of which houses a full lend- cal activities and events of the 20th cen- ing library of nearly 20,000 scores and tury. archival recordings of CMC Associate The current CMC website project Composers. CMC offices are located in (to be launched in April 2007) is titled Vancouver (BC), Calgary (AB, for the “Influences of Many Musics” and fea- Prairie Region), Toronto (ON), Montreal tures the creations of “New” Canadian Editor’s Note: This is the second in a two-part series of articles about music scholarship in (QC), and Sackville (NB, for the Atlantic composers. “Many Musics” is a discovery Canada. The first article, on the Canadian provinces). space where Canadian compositions are University Music Society by its president, Jim The CMC holds the largest collection explored through composer interviews, Deaville, appeared in the Fall 2006 Bulletin. of Canadian concert music in the country stories of their lives and music, and arti- and is the primary source for scores and facts and influences from their cultural This article focuses on two important recordings of compositions by its 630 heritage. Canadian cultural organizations: the Associate Composers. Scores are available Other areas to explore on the CMC Canadian Music Centre (CMC) and the on loan (free of charge) or for purchase website include: Radio CMC (offering Canadian Broadcasting Corporation or rent through the CMC libraries, and samples of Canadian music); Canadian (CBC). These two organizations provide a nearly 5,000 compositions by Canadian Composers Portrait documentaries; his- broad range of support to Canadian music. composers are available on recording torical perspectives on Canadian music Only a brief introduction to their activi- for purchase through CMC Distribution in the Canadian Currents series; full- ties is possible here, but a visit to their Services. On-demand printing and reper- length featured albums through ongo- respective websites (www.musiccentre.ca toire consultation services are accessible ing webcasting; Event Calendar listings and www.cbc.ca) will reveal much more in person, by mail, or through the CMC of upcoming professional and amateur information. website, as are composer biographies, events; Centrediscs and CMC Distribution The Canadian Music Centre was reviews of performances, program notes, Services (providing the most complete established under federal charter in 1959 photographs, and general information Canadian commercial CD catalogue in as an independent, nongovernment, non- about Canadian music. the world for recorded music of Canadian profit agency, with a broad mandate to In recent years, the CMC has composers); and a comprehensive Links promote the music of Canadian compos- received significant funding from federal section that points to relevant Canadian ers. Like the American Music Center agencies to enable increased access to its and International websites. (AMC), the primary responsibility of the holdings via the internet. The extensive Canada’s public broadcasting agency CMC is to support the new music of its CMC website now includes resources for was established as a government agency country. Initially, the CMC served largely composers, media, presenters, conductors, in 1932, with a mandate to develop a as a collector and cataloguer of works by choreographers, performers, broadcasters, national radio broadcasting service. In Canadian composers, providing scores students, and all those who simply listen 1952 a television component was added. on loan to national and international per- to and enjoy music. The site provides a CBC/Radio-Canada is now required by formers. Over time, activities have been directory of Associate Composers, their the Broadcasting Act to “be predominantly expanded to include collecting and pro- biographies, library holdings of their and distinctively Canadian, reflect Canada moting the works of Canadian composers music and recordings, and an increasing and serving as a repository for informa- repository of samples of music in audio continued on page 10

6 The Bulletin of the Society for American Music • Vol. XXXIII, No. 1 The Bulletin of the Society for American Music • Vol. XXXIII, No. 1 7 REMEMBRANCES

Gordon Myers (1919–2006) 1963), and conducted a community cho- 1620–1800, performed in the outdoor rus. As baritone soloist with Pro Musica, theater at the Washington Crossing State – Bill Kearns he made numerous recordings, and sang Park in New Jersey. He edited numerous the part of King Darius in The Play of modern editions of many early American Daniel in a recording reissued on CD, and songs and delivered papers on 18th-cen- made several tours of the U.S., British tury subjects. Isles, and Europe. He was the featured Humor was a frequent aspect of singer, program director, and vice-presi- his composition and performance. He dent of WGHF-FM from 1948 to 1955, regaled the Sonneck Society, the National and later composed music for New Jersey Association of Teachers of Singing, and Public Television (1977–87). He earned a numerous other groups with performances master’s degree in 1948 and later his doc- of his ever-changing song set, The Art of torate (Ed.D., 1965), both from Teachers Belly Canto, often accompanied by pianist College, Columbia University, in 1965. Sylvia Eversole and son Douglas Moore For his thesis, he wrote one of his major on cello. Other such song collections are compositions, God’s Trombones, a 90- based on the humor of Mark Twain and minute choral work based on the poetry of Benjamin Franklin. Typical parodies are James Weldon Johnson, later recorded by “A Half-Cup of Decaffeinated Coffee Singer, composer, actor, writer, poet, Gloriae Dei Cantores (1994) with Gordon Cantata,” and the country song, “I Got speaker, conductor, historian, professor, singing the part of the preacher himself (at a Blizzard in My Gizzard Cryin’ Over administrator, and humorist – all these age 75). You.” professions Gordon Myers practiced at Dr. Myers left New York to become The Gordon Myers Collection, various times or continually during his Chairman of the Music Department, housed at The American Music Research long and prolific career. But first and Columbia College, Columbia, South Center at the University of Colorado in foremost, he was a gifted baritone, as is Carolina (1965–68) and, from there, to Boulder, Colorado, reveals the complete suggested by the title of his autobiogra- Trenton State College, Trenton, New extent of his multifarious musical activity. phy, I Sing – Therefore, I Am (Mt. Morris, Jersey, where he taught for 17 years, retir- It contains his autobiography as well as NY: Leyerle Publications, 1998). ing in 1985. At Trenton State, he taught eighteen articles about choral music, early James Gordon Myers was born on a voice and, at various times, directed the American songs, interviews, current musi- farm in Waverly, Iowa (1919), received Trenton State College Singers, for whom cal events, and criticism. Housed there are his bachelor’s degree in music from he wrote numerous pieces. Among them approximately ninety (thirty-three pub- Cornell College in Iowa (1941), and was Yankee Doodle Fought Here, a lished) compositions and arrangements subsequently set off for New York City cantata on the subject of New Jersey’s of choral music, church music, and songs. armed with a fellowship for graduate role in the Revolutionary War, commis- In addition, the archive contains his cor- work at Juilliard. World War II and ser- sioned by the New Jersey Bicentennial respondence and his meticulous notes on vice in the army (1942–46) interrupted his Commission. It was heard by an esti- all aspects of his career. education but not his career. While in the mated total of 84,000 school children Dr. Myers was elected into mem- service, he was called on at various times who attended the 226 performances and bership of the American Academy of to sing and was the infantryman chosen is but one of several pieces about the 18th Teachers of Singing in 1976, and served by Frank Loesser to introduce on NBC’s century that Myers composed. Dr. Myers as vice-president of NATS (National “The Army Hour” (1945) what became took his Trenton State College Singers to Association of Teachers of Singing), one of the most popular songs of the day, concertize in Romania in 1972, and again 1988–1992. “The Ballad of Rodger Young.” to Romania and Russia in 1977 under the He is survived by his widow, Harriett Following the war, Myers returned auspices of Friendship Ambassadors. The (Hill), whom he met as a member of the to New York City, resumed his studies, New Jersey Network produced a docu- Margaret Dodd Singers and with whom and, for the next 20 years, performed in mentary on the latter trip called “Yankee he performed in numerous recitals; two both musical theater and various concert Doodle’s Odyssey,” which was broadcast sons – Christopher, off-spring of their venues, from solo recitals to oratorio in New Jersey a number of times in marriage, and Douglas Moore, son from a performances. Among his theater perfor- 1978–79. Dr. Myers retired in 1985, and previous marriage; and a sister, Margaret mances was the principal role in George until his death was Professor Emeritus of Kasai, of Hemet, CA. He was preceded in Antheil’s opera Volpone (1953), based on The College of New Jersey. As a result of death by two sisters: Evelyn Hickle, of Ben Johnson’s satire. He also sang with a 1973 Rockefeller grant, he researched, Waverly, Iowa, and Elizabeth Hummell, the Margaret Dodd Singers, the Randolph edited, and wrote a historic-dramatic- of Laguna Hills, California. Singers, the New York Pro Musica (1957– musical piece, The Way It Was – America:

6 The Bulletin of the Society for American Music • Vol. XXXIII, No. 1 The Bulletin of the Society for American Music • Vol. XXXIII, No. 1 7 Conference Report: The program began on Thursday Shira Brettman) about the shows that afternoon with a session of lively remi- Bernstein organized and directed dur- Bernstein in Boston niscences from the Bernstein family ing his summers in Sharon, MA, which – Steven Ledbetter members. Friday’s and Saturday’s ses- provided the first inkling of his future sions included papers presented by the career as a creator of stage works. seminar students, and covered the fol- The most exciting and moving For three days in October (one of them the lowing topics: the Bernstein family’s event for me was the Saturday afternoon anniversary of Leonard Bernstein’s death affiliation with Temple Mishkan Tefila, panel, in which four of the original par- on 14 October 1990), an audience of stu- then and now one of the most important ticipants in West Side Story recalled their dents, musicologists, family members, and Conservative Jewish congregations in the memories of working with Bernstein and old friends of the Bernstein family came country; Bernstein’s school experiences Jerome Robbins. One of them was Carol to Harvard for a remarkable conference from primary school through Boston Lawrence, the original Maria, who looked devoted to Leonard Bernstein’s early life Latin and Harvard University (class of ready to dance and sing the role all over – the “Boston years,” of childhood, youth, 1939); the summers spent at a predomi- again on the spot. Producer Harold Prince and early adulthood, before he came to be nantly Jewish lakeside community in recalled the complex business elements associated in the popular imagination with Sharon, MA, where Bernstein began that came together (with difficulty) to New York City. This may well have been producing and performing in Gilbert & make the show happen, and commented the most stimulating, interesting, informa- Sullivan operettas; early musical studies; later that the success of West Side Story tive, and even touching scholarly confer- and Bernstein’s years at Harvard. The greatly widened everyone’s view as to ence I have ever attended, not to mention interviews and archival documentation what was possible in the musical theater one of the best organized. originating from this project will become in terms of dramatic approach, musical The idea for the conference grew out part of a Bernstein archive at Harvard. style, and topics. Sid Ramin talked about of a research seminar taught in spring One student, Ryan Bañagale, found orchestrating the show, and Marni Nixon 2006 by Carol Oja and Kay Kaufman a previously unknown Bernstein manu- (who sang the role of Maria in the film Shelemay in which a group of talented script at the Library of Congress: a ver- version) recounted her experiences. undergraduate and graduate students sion of Gershwin’s Rhapsody in Blue (a During the panel one person asked found both traditional and imaginatively piece he played often) made in the month Carol Lawrence whether the opening new ways to consider the years in which after Gershwin’s premature death in July dance of West Side Story was origi- a very talented boy developed into the 1937, while Bernstein was a camp coun- nally meant to be sung. Before she could musician that the whole world came to selor and music teacher at a Jewish boys’ answer, Grover Dale, one of the original know. camp in western Massachusetts (near Jets, leaped up from the audience and Their research consisted in part of Tanglewood, where his musical career essentially recreated, right in front of us, finding and interviewing dozens of people would take off just three years later). the entire danced mime opening. who had known Bernstein as neighbors, Evidently Bernstein made this version Under the direction of Judith schoolmates, friends, Harvard classmates, as a tribute to Gershwin, scoring it for Clurman, the Director of Choral Activities and musical companions in his college the instruments available at the camp at Juilliard, the Harvard students present- years. These formed the basis of many of – a hodgepodge that included piano solo ed two superb concerts, on Thursday and the papers, and the conference presenta- (played by Bernstein), clarinet, accordion, Saturday evenings. The Thursday concert, tions were further enriched by several of soprano recorder, two ukeleles, three male in particular, was exceptionally well the interviewees who attended and were voices, cymbals, and other percussion! programmed. Before intermission it con- able to participate by answering questions There was no indication that he sisted of music that Bernstein performed and adding further commentary. ever publicly performed this arrange- in his youth (to his Harvard years), Adding yet another dimension ment, so with the permission of the including some liturgical music from was the active participation of Leonard Gershwin and Bernstein estates, it had Temple Mishkan Tefila; Copland’s Piano Bernstein’s three children, Jamie, its world premiere on Thursday night, Variations (his favorite party piece!); Alexander, and Nina – all extremely and it was a stitch – especially when songs from The Mikado, Blitzstein’s lively and gifted in their own right – and the orchestra dropped out to leave the Cradle Will Rock, and Gershwin’s Of Thee his younger brother Burton (a writer for two ukeleles strumming while the three I Sing; and in conclusion the four-hand The New Yorker who wrote the memoir male voices crooned Bernstein’s piano piano sonata by Harold Shapero, which Family Matters). Bernstein’s long-time riff on “dee-dee-dee-deedle-de-dee-dee”! he often played with the composer. The right-hand man Jack Gottlieb, the conduc- Saturday offered two simultane- second half consisted entirely of music tor John Mauceri, and Bernstein’s TV pro- ous sessions: one on Bernstein and the that Bernstein himself wrote or arranged ducer (and later biographer) Humphrey dance, particularly his work with Jerome in those early days: some liturgical music, Burton all spoke during the weekend. Robbins, and the other with more papers the Seven Anniversaries for piano, and his Bernstein’s childhood friend and orches- from the seminar, including an analysis of astonishing camp-orchestra arrangement trator for his shows, Sid Ramin, and his Bernstein’s doodles (by Scott Kominers) Harvard classmate Harold Shapero were continued on page 11 and a very informative presentation (by interviewed live during the conference.

8 The Bulletin of the Society for American Music • Vol. XXXIII, No. 1 The Bulletin of the Society for American Music • Vol. XXXIII, No. 1 9 FAQs on Planned Giving The Society for American Music – Elizabeth Yates McNamee The Society for American Music promotes research, educational projects, and the dissemination of infor- SAM member and mation concerning all subjects and periods embraced by the field of music in American life. Individual Development Consultant for the Society and institutional members receive the quarterly journal American Music, the Bulletin, and the annotated Membership Directory. Direct all inquiries to The Society for American Music, Stephen Foster Memorial, University of Pittsburgh, Pittsburgh, PA 15260; (412) 624-3031; [email protected]. What is “planned giving?” Officers of the Society It’s simply planning ahead to include a President ...... Michael Broyles nonprofit organization, like the Society President-elect...... John Graziano for American Music, in your estate plan- Vice-president ...... Judith Tick ning. Secretary...... Jeffrey Magee Treasurer ...... Paul Laird But we’re mostly scholars here, not phi- Members-at-large...... Gayle Sherwood Magee, Kay Norton, Vivian Perlis, Howard Pollack, lanthropists. Isn’t planned giving really Wayne Shirley, Larry Starr Editor, Journal of the Society for American Music...... Ellie Hisama only for wealthy people? Editor, SAM Website...... Mark Katz Actually, planned giving is a wonderful Executive Director ...... Mariana Whitmer opportunity for people who aren’t neces- Standing Committee Chairs: sarily wealthy. While many of us can’t Finance: Paul Laird; Long-Range Planning: Carol Oja; Development: Deane Root; Honors and Awards: afford to do the kind of philanthropy we’d Paul Machlin; 2005 Lowens Award (Book): David Brackett; 2005 Lowens Award (Article): Leta Miller; like to during our lives, we can make a Housewright Dissertation 2005: Elizabeth Crist; Mark Tucker Award: Lisa Barg; Membership: Karen Bryan; Conference Site Selection: Carol Hess; Nominating: Larry Worster; Public Relations: Vacant; Book significant impact through a planned gift. Publications Subvention (Johnson Bequest): Jeffrey Taylor; Sight and Sound: Kip Lornell; Silent Auction: What kind of planned gift? Dianna Eiland; Publications Council: Carol Oja; Cultural Diversity: Josephine Wright. Well, the simplest planned gift is prob- Appointments and Ad Hoc Committees: ACLS Delegate: Michael Broyles; Archivist: Susan Koutsky; Committee on Publication of American ably an outright bequest. That is, you Music: Judith McCulloh; SAM History Project, Denise Von Glahn; US-RILM Representative: Denise can leave a specific sum to the Society in Von Glahn; Registered Agent for the District of Columbia: Cyrilla Barr. your will. Or you can leave a percentage Interest Groups: of your estate to SAM, if that works better American Band History: Susan Koutsky; American Music in American Schools and Colleges: Christine for you. There are a lot of other options, de Catanzaro and James V. Worman; Connecting Outside the Academy: Joseph Horowitz; Dance: Renee though. You can designate all or part of Camus; Eighteenth-Century Music: Nicholas Butler; Folk and Traditional Music: Ron Pen; Gay/Lesbian/ Bisexual/Transgendered: David Patterson; Gospel and Church Music: Roxanne Reed; Historiography: your retirement plan, or your insurance Michael Pisani; Music of Latin America and the Caribbean: Paul Laird; Musical Biography: Vacant; policy. Or you can leave securities or Musical Theatre: Anna Wheeler Gentry; Popular Music: Philip A. Todd; Research on Gender and even real estate. American Music: Liane Curtis; Research Resources: Alisa Rata; Twentieth-Century Music: David Patterson Isn’t this all kind of complicated? And expensive? Electronic Resources Not necessarily. For example, all you Listserv: [email protected] need to do to leave a bequest to SAM is Website: http://www.american-music.org to name the Society in your will. It’s as Annual Conferences simple as that. SAM’s adviser can work 33rd Annual Conference, Pittsburgh, Pennsylvania with you to help you draft the language of George Boziwick, Program Committee Chair your bequest, and answer any questions Mariana Whitmer, Local Arrangements Chair you might have. 34th Annual Conference, San Antonio, Texas In your opinion, why have some people Kay Norton, Program Committee Chair Carl Leafstedt, Local Arrangements Chair chosen to make bequests to SAM? Well, I think it helps people feel that they’re making a significant contribution, possibly in a way they couldn’t during for you and your family. For instance, bequest. To do this you would make a their lifetime. They have seen how their you might choose to establish a trust general, unrestricted bequest, which gives universities or even their own depart- or an annuity, and a lot of these options the Society the most flexibility. ments have benefited from bequests, and can reduce your estate tax or income tax liability. Do I have to tell SAM about my estate they want SAM to thrive in the future, to plans? provide support and enrichment for future Can I decide how I want my bequest It’s a good idea to tell the Society because generations of scholars. used? it helps SAM consider how to work with What about planned gifts other than Of course. You can direct your gift to any you to make sure that your planned gift bequests? of the Society’s existing endowments, if benefits both you and the Society to the There are lots of other options. SAM’s you like. Or you can let the Society deter- greatest degree possible. advisers can help you choose a good one mine what it needs most at the time of the

8 The Bulletin of the Society for American Music • Vol. XXXIII, No. 1 The Bulletin of the Society for American Music • Vol. XXXIII, No. 1 9 “Song of America” continued from page 5 “Notes from the North” continued from page 6 The Library’s Music Division and its FROM THE and its regions to national and regional Educational Outreach office began a audiences [and] strive to be of equivalent collaboration with the Manhattan School EXECUTIVE quality in English and French.” Through of Music in New York to develop edu- decades of political and funding changes, cational programs for Internet broadcast. DIRECTOR the CBC – which now provides French A new partnership between the Library’s and English services on radio, television, Please don’t forget to renew! If you haven’t Music Division and the University of internet, satellite radio and digital audio, yet sent in your membership payment for Mississippi will establish the Archive of recording and distribution services, and 2007, this may be your last issue of the American Music with the purpose of cre- wireless WAP and SMS messaging ser- Bulletin. Help us keep you current: renew ating, collecting, and preserving oral his- today. vices – has survived variable public and tories of performing artists in America. In Each year the number of students private support and continues to redefine Philadelphia, the Veterans History Project attending the SAM annual conference grows itself and remain relevant to Canadians. established a partnership with Aces, a as the word spreads about our congenial and The CBC brings diverse regional and museum for black and minority World supportive environment. And each year the cultural perspectives into the daily lives of War II veterans, and in Chicago, the number of students seeking support to attend Canadians in English, French, and eight VHP launched a new partnership with the our conference increases. Their enthusiasm aboriginal languages, in nine languages on National Vietnam Veterans Art Museum. to participate in our conference is a recurring its international radio service and in eight The Perpich Center for Arts Education theme in their applications for student travel languages on its web-based radio service in St. Paul also expressed interest in a support: “I am eager to share my work with RCI viva for recent and aspiring immi- partnership with the Library. “I would like other members in SAM,” “I look forward grants. The Programming Guide feature to commend you, and everyone working to the opportunity to present my research on the website (www.cbc.ca) is a tremen- in order to elicit comments and advice,” on this project, with its comprehensive dous asset in finding arts-related program- and “I am excited about networking with approach of integrating great performing, ming. Radio Two broadcasts “Two New others who are interested in similar topics education and scholarship, said Nathan Hours,” the only CBC program dedicated in American music.” The Society welcomes Davis, executive director. “Please keep primarily to new Canadian concert music. the opportunity to assist students – they the Perpich Center in mind with future Radio 3 (available on internet and radio) are our future – yet our funds are limited. Library of Congress projects.” claims to be “a flagrantly Canadian mix of We hope you will consider contributing to Reflections of the Artist new music and new voices.” “The Scene,” the Student Travel Endowment, especially for this upcoming conference. Those who In addition to announcing the tour in its a feature of the Video Page of cbc.ca, contribute to the Endowment are invited to January 2006 issue, Gramophone maga- complements various forms of the “Arts attend the Student Forum Breakfast at the zine invited Hampson to write the first Report” on Radio and Television that pre- Conference on Saturday morning, where view events across the country. And lastly, article for the magazine’s new “Diary” the students may thank you personally. feature in its August 2006 issue. Referring “CBC Archives” makes available online a Contributions are accepted with credit card in part to the completion of the “Song of selection of arts-related radio and televi- or personal check, now or at the conference. America” tour, Hampson wrote, “For the sion clips from the history of CBC broad- If you are unable to contribute financially, past couple of months, in addition to a full casting. Additional documentary and please consider bringing something for the opera schedule, my life in song has never historical arts materials are available for Silent Auction! Please feel free to contact been more fulfilling.” purchase through the online CBC store or me with any questions: SAM@american- On his personal Web site Hampson on request directly from CBC Archives. music.org or (412) 624-3031. reflected on his experience with the In many areas, Canadian music is We are looking forward to welcoming tour: “I can really feel the enthusiasm blessed by the support of its national you to Pittsburgh for the MLA/SAM that audiences have for this repertoire: cultural organizations. However, with Conference in March, and showing you all they understand and connect with the no comprehensive research program that our wonderful city has to offer. storytelling the composers and poets have for scholars and few academic centers presented them with and they are seeing offering Canadian Music studies at the – Mariana Whitmer this music as a narrative of their own graduate level, there is still much to be experiences. This has been an uplifting accomplished. But that, to quote a friend, and entirely positive experience for me.” is a topic for another time. (See www.hampsong.com.)

10 The Bulletin of the Society for American Music • Vol. XXXIII, No. 1 The Bulletin of the Society for American Music • Vol. XXXIII, No. 1 11 “Conference Report” continued from page 8 RIP: SRAR (1981–2006) Electronic databases have obviated of Rhapsody in Blue. It closed with the the need for SRAR, however, and there- piano trio that he wrote for Walter Piston’s – Sandra Graham, Bulletin Editor fore with this issue we lay it to rest, with class his sophomore year. (How incredible deepest thanks to Nicholas Tawa, Bill and rare to get such a finished, remarkable Kearns, and Joice Waterhouse Gibson piece from a sophomore music student!) for their time (each listing took at least SRAR, known to Bulletin readers in its Additional events included a mas- 25 hours of preparation) and painstaking unabbreviated form as “Some Recent ter dance class on Saturday morning, in accuracy. Articles and Reviews,” has served as which Damian Woetzel rehearsed dancers SRAR, though gone from these an indispensable resource for American from Boston Ballet in Jerome Robbins’s pages, will still be with us in altered form. music scholars for some 30 years, guid- choreography for Bernstein’s Fancy Free, In the Spring we plan to mount on the ing them to articles of potential schol- and a vocal master class on Friday after- SAM Website a list of journals that print arly interest in a wide variety of journals noon, in which Rob Fisher (conductor of articles on American music, with a link to and periodicals from around the world. the recent Broadway revival of Wonderful their contents pages. This will be Joice’s Nicholas Tawa, the first editor of the Town) coached several Harvard students last official act as SRAR compiler; look Bulletin, planted the seed with a section in songs from that show. for it in May 2007. that listed articles by Sonneck Society Though the aim of the conference members. When Bill Kearns took over was primarily to widen our knowledge the editorship six years later, he enlarged of Leonard Bernstein’s formative years the scope to all articles and reviews on – which it did magnificently – it left American music, and SRAR took its few aspects of his life’s work untouched. present form. Joice Waterhouse Gibson Happily, the entire conference was video- succeeded Kearns in 1999 and has served taped for Harvard’s Bernstein archive. in this capacity until the present.

SAM Brass Band: Join Us!

The SAM Brass Band will perform music by Stephen Foster, Frank Johnson, and other Pennsylvania composers at the upcoming SAM/MLA joint conference in Pittsburgh. Cornet, trumpet, alto horn, French horn, euphonium, trombone, tuba, percussion, clarinet, and piccolo players are invited to participate. The rehearsal will be on Thursday, 1 March from 6:00 until 7:30 p.m. The performance will be during the cocktail reception on Saturday, 3 March, beginning at 6:30 p.m. If you would like to participate, please contact the band’s director, Craig B. Parker, at [email protected] or 785-532-3810 so that a music folder can be prepared for you.

Allegheny High School Band (November 11, 1919). Allegheny High School, located at 810 Arch Street in Pittsburgh’s North Side neighborhood, formerly the City of Allegheny. Photo Courtesy of the Library and Archives Division of the Historical Society of Western Pennsylvania, Pittsburgh, PA.

10 The Bulletin of the Society for American Music • Vol. XXXIII, No. 1 The Bulletin of the Society for American Music • Vol. XXXIII, No. 1 11 STUDENT FORUM With the 2007 conference quickly Dinner: Friday night is our annual responsibility for its organization and approaching, the Student Forum is look- student-only dinner. Not only is this a execution. Sarah has already procured a ing for volunteers to assist with activi- wonderful opportunity to meet students number of exciting items from regional ties in Pittsburgh. If you would like to from different schools, we also take and national organizations. However, help, please e-mail one of your Student this opportunity to elect a new Student we still need volunteers to help with Forum co-chairs, Ryan Raul Bañagale Forum co-chair. What better way to get acquiring materials, planning, and run- ([email protected]) and Sarah involved? Meet in the lobby of the hotel ning the auction in Pittsburgh. For more Gerk ([email protected]). All stu- at 7 p.m. and we’ll head out to a local information on how to help (or donate!), dents are encouraged to participate in restaurant. please e-mail Sarah at the address listed our events, not only to get to know other Breakfast: On Saturday morning above. Students who receive travel students but also to get more involved in we will host a Student Forum break- funds are expected to give a few hours the Society! fast. Typically, a number of prominent of their time to the auction and are Make room for the following faculty members drop in for informal required to be there when the auction important conference events on your conversation with students. The co- closes at noon on Saturday. schedule: chairs will also give an update of recent Travel to SAM meetings can strain Panel: The Student Forum will activities and plans for the future. Come your limited student budget, so we offer host its annual panel on Friday from share your thoughts and enjoy the free a roommate search service to help 9: 00 to 10:30 a.m. This year’s session food! defray lodging costs. If you need a is titled “Wanted: One Americanist” and Meeting: Make sure that you roommate for Pittsburgh, please e-mail promises to be just as thought-provoking come to the annual business meeting Sarah. as last year’s panel in Chicago. We’ll on Saturday at 4:00 p.m. Not only will explore the recent job postings of a it keep you up to date with all societal We look forward to seeing you in variety of academic programs and, happenings, but also you can find out Pittsburgh! along with our faculty panelists, discuss which of our Student Forum members what schools are really looking for when will be awarded the 2007 Mark Tucker they call for “experience in American Award for outstanding conference music.” Based on this information, paper. we’ll debate whether or not graduate Silent Auction: Since the annual programs in American music should silent auction exclusively benefits train students according to the hiring the Student Travel Endowment, this practices of institutions. year students are taking on a greater

12 The Bulletin of the Society for American Music • Vol. XXXIII, No. 1 The Bulletin of the Society for American Music • Vol. XXXIII, No. 1 13 BULLETIN BOARD

Texas Christian University Wins stellar performances by Riders In the African American Studies, graduate stu- Award Sky, John Cowan, Elizabeth Cook, and dents in musicology, student orchestras others. Contact www.pasfiddle.com or and choruses, and a student gamelan. The National Federation of Music Clubs [email protected] for more The idea is to maximize synergy with has given its 2006 First Place Award information. campus resources. For more information: for the Promotion and Performance of www.bernsarts.com. American Music to Texas Christian David and Ginger Hildebrand have University, reports Michael Meckna. TCU released a new CD, Music in the Life of Jeffrey Magee was awarded an previously won the award in 1966, 1988, Benjamin Franklin. Joined by soprano Association for Recorded Sound 1997, 2000, 2002, and 2004. (A school Julianne Baird, they honor Franklin, who Collections 2006 Award for Excellence in cannot win two years in succession.) The turned 300 last January, with 70 minutes Historical Recorded Sound Research, in NFMC commended TCU for its annual of songs and instrumental pieces that the category of Best Research in Recorded celebration of American Music Month Franklin knew and enjoyed during his Jazz Music, for his book The Uncrowned in November, its annual jazz festival in long and eventful life – Scots songs, King of Swing: Fletcher Henderson and March, its biennial Latin American Music broadside ballads, drinking songs, dance Big Band Jazz (Oxford University Press). Festival in April, its several regional tunes, and operatic selections. Some conferences, and its numerous premieres. were created to honor him, and some Kendra Preston Leonard’s book, The During the period covered (June 2005 to Franklin himself composed. A companion Conservatoire Américain: A History, May 2006), TCU musicians gave a total music book is set to follow. For details will be published in January 2007 by of 235 performances of works by 149 on both, and ordering information, visit Scarecrow Press. In 2006 she presented American composers on 84 programs. www.colonialmusic.org/BF.htm. papers at the following conferences: Twenty-two of the programs were “all Women in French, International Alliance American,” 21 composers were present for Women in Music Congress, and for the performance of their works, and 19 International Conference on the Book works were given their premiere perfor- (for which she has been appointed rep- mance. In addition to concerts and recit- resentative to the ACLS by the National als, 11 visiting artists and lecturers partici- Coalition of Independent Scholars). pated in seminars, workshops, or master classes that focused on American music. The following SAM members were recent- Discounting a considerable radio and tour ly honored with an ASCAP Deems Taylor audience, approximately 9,150 people Award: Sally Bick, Assistant Professor, attended these events. Four festival-like Joe Horowitz is Executive Producer of a University of Windsor, for her article events featured American music, and a Naxos DVD, scheduled for release 30 Jan. “Of Mice and Men: Copland, Hollywood, CD of commissioned works was issued. 2007, with the classic documentary films and American Musical Modernism,” Noted NFMC American Music Division The River and The Plow That Broke the published in American Music 23/4 Chair Angie Greer: “Your programming Plains incorporating fresh soundtracks: (2005); Vivian Perlis and Libby Van was exceptional, your publicity outstand- the famous Virgil Thomson scores newly Cleve for their ongoing Oral History of ing, and the number of people you reach recorded by Post-Classical Ensemble (of American Music (OHAM), published by with American music is terrific.” which Horowitz is Artistic Director) and Yale University Press; Michael Pisani, the actor Floyd King. The DVD also Associate Professor, Vassar College, for Members in the News includes ancillary content about the New his book Imagining Native America in Deal, about the films themselves, and Music (Yale University Press, 2005); and Dale Cockrell’s CD The Arkansas about Thomson as film composer. Tony Sheppard, Associate Professor of Traveler: Music from Little House on Joe’s “American Piano” project, a Music, Williams College, for his 2005 the Prairie was released in November collaborative residency featuring the pia- article “Cinematic Realism, Reflexivity 2006 under his Pa’s Fiddle Project label. nists Steven Mayer and Anthony de Mare and the American ‘Madame Butterfly’ It joins the first volume in his series in a wide variety of American repertoire Narratives” published by the Cambridge of songs from the Little House books (including Art Tatum and other iconic Opera Journal. by Laura Ingalls Wilder, Happy Land: jazz pianist/composers), has so far visited Musical Tributes to Laura Ingalls Wilder, the University of Maryland, Wesleyan Pacific Symphony’s 2006 American which was honored by the NEH with a University, and Stanford University. Composers Festival place on the “We the People Bookshelf” Participants have included faculty and for 2007, the first recording to ever be so student performers, jazz pianists, music Joe Horowitz and Leonora Saavedra are honored. The Arkansas Traveler features historians, Americanists, scholars in serving as programming consultants and

12 The Bulletin of the Society for American Music • Vol. XXXIII, No. 1 The Bulletin of the Society for American Music • Vol. XXXIII, No. 1 13 speakers at the Pacific Symphony’s 2007 Many of these songs can be American Composers Festival, “Los Concert of Popular Music by uncomfortable for modern-day performers Sonidos de Mexico,” 15–29 April. The and audiences because of language and composers Ana Lara and Daniel Catan Early Black Composers stereotypes. Ward admits, “I intentionally will be in residence. Participating per- –Sandra Graham stayed away from the controversial tunes formers include the guitarists Roberto University of California, Davis – even I’m not ready to deal with them, Limon and Pepe Romero, the pianist the language and the topics.” Instead he Pedro Carbone, and the conductors is featuring songs like Alex Rogers’ “I’m Carl St. Clair and Enrique Diemecke. A a Jonah Man,” J. W. Johnson and Bob chamber orchestra program (15 April) Cole’s “When the Band Plays Ragtime,” features music by Lara, Chavez, Ponce, and Sissle and Blake’s “Love Will Find a and Arturo Marquez. A symphonic Way.” program (26–28 April) includes works Ward hopes to insert some more by Marquez, Revueltas, Catan, Ponce, black composers into the repertory of Diemecke, and Lara. An “Interplay” the Great American Songbook, which is program on 20 April, tracing the full tra- usually associated with the likes of Irving jectory of Mexican music and visual art Berlin and Cole Porter: “I’m hearing from pre-Hispanic times to the present, people sing these songs from the Great includes these composers as well as the American Songbook, but I’m not hearing 19th-century Romantic piano composer the African American composers.” Ricardo Castro. For more information, e- Although many people have an mail [email protected]. intellectual understanding of this music through written accounts and sheet music, Ward believes that “if you don’t have New Recording: Hudson Valley an opportunity to hear what that music Composers sounds like, you really can’t grasp it.” He hopes to record these songs on CD, and Voices of the Valley: Danielle Woerner, plans to pursue this repertory further. Soprano, Sings Music by Hudson Valley For more information, please see On 11 Feb. 2007 at the First Baptist Composers (Albany Records, Troy 877; www.frankwardjr.com/index.html. Church in Rhode Island, bass-baritone released 1 November 2006); $16.95 Frank Ward will offer a concert of popular Woerner’s second CD of American songs by African American composers music includes compositions by Peter circa 1900–1920s. Accompanied by Schickele and James Fitzwilliam (who per- pianist Stephen Martorella, Ward will form), Robert Baksa, Aurora Northland, interpret songs by James Weldon Johnson, and Alan Shulman, plus a reading by J. Rosamond Johnson, Bob Cole, Alex American novelist Gail Godwin of her Rogers, and Sissle and Blake. The concert text to Robert Starer’s substantial chamber is supported by a Rhode Island State piece, “Anna Margarita’s Will.” Woerner Council on the Arts grant. prepared the music with the compos- These are songs that are rarely ers, most of whom she has worked with performed in public. As Ward observes, closely for years. Other supporting musi- “We don’t talk about that era as often; a cians include pianist Barbara Pickhardt, lot of people would just as soon forget and Hudson Valley Philharmonic players that particular period of history. But Susan Seligman, cello; Marcia Gates, as an African American, I’m always flute; and Harry F. Ditzel, horn. Woerner’s looking to promote music by African previous full-length recording of 20th- American composers on recitals. I have century American music was She Walks always performed spirituals, from the in Beauty: Danielle Woerner, Soprano, arrangements of Burleigh and Johnson Sings Chamber Music and Songs of Otto up to modern day.” Looking to diversify Luening and Robert Starer (Parnassus his repertory, Ward became curious about 96012), featuring Starer at the piano in the music of vaudeville and early African his only commercially available perfor- American theater after performing in mance. Scott Joplin’s Treemonisha. “I was like a kid in a candy store to find all those songs by the Johnson brothers,” he exclaimed.

14 The Bulletin of the Society for American Music • Vol. XXXIII, No. 1 The Bulletin of the Society for American Music • Vol. XXXIII, No. 1 15 Call for Proposals: CONFERENCE ANNOUNCEMENTS New Series on American Wind Music Postcolonial Studies and Music The conference planners invite proposals on all aspects of the convention The history of American wind music is The Columbia University Music singing tradition and related activities. rich, and the topics of study are many. Scholarship Conference “Postcolonial Topics include, but are not limited to, Yet there is no series published that is Studies and Music,” 3 Feb. 2007, will studies of composers and lyricists, pub- devoted entirely to the serious and schol- feature Jairo Moreno (music theory, New lishers, geographical distribution of con- arly examination of American wind bands York University) as keynote speaker. vention singing, community traditions, and American wind music. The American singing schools, pianists, performance Wind Band Series, a new series from The style, crossover with professional quartet Scarecrow Press, Inc., aims to fill this sig- “We Will Understand It Better world, crossover with bluegrass gospel, nificant and unfortunate gap in the study Bye and Bye”: Southern Gospel intercultural exchange, recording, radio, of music. Convention Singing Tradition the business of gospel. The series is devoted to research in all aspects of the American wind The Center for Popular Music at band and wind music, including waits Middle Tennessee State University in Music and Health Symposium (Stadtpfeifer); hautboys; Harmoniemusik; Murfreesboro is in the early stages of Janissary music; brass, concert, marching, planning the first-ever academic confer- The American Music Research Center circus, military, and symphonic bands; ence devoted to the Southern Gospel at the University of Colorado at Boulder symphonic wind ensembles; wind orches- Convention Singing tradition. The confer- will host a Music and Health Symposium tras; and wind symphonies. Fifers, drum- ence is tentatively set for April 2008, and 28–30 June 28 2007. Please visit the mers, buglers, and their ensembles are a formal call for papers will be issued in conference website, at http://ucblibrari also important aspects of American wind April 2007. Performances and opportuni- es.colorado.edu/amrc/musichealth2007/ music. ties for participatory singing will also be index.htm. Scarecrow is pleased to welcome a part of the event. Dr. Raoul Camus, a leading authority on band and military music, as series editor. Dr. Camus is a past president and found- ing member of the Sonneck Society for American Music, and has contributed articles on bands and military music to Historical Marker for Silvestre Revueltas The New Grove Dictionary of Music and The New Grove Dictionary of Music Plans are underway for the dedication of an official state historical marker in San and Musicians. He is co-author of the Antonio, Texas, honoring the renowned Mexican-born composer Silvestre Revueltas. computer-generated microfiche index Revueltas worked in San Antonio from 1926 to 1928 as a concert violinist, teacher Early American Secular Music and at the San Antonio College of Music, concertmaster of the Aztec and Texas Theater Its European Sources 1589–1839, and Orchestras, and as a composer and conductor. He returned to Mexico in December 1929 author of Military Music of the American at the behest of Carlos Chávez and composed, over the decade of the 1930s, a skein of Revolution. orchestral masterpieces, chamber music, and theater and film music. Appreciation of his Proposal submissions, including creative genius has grown exponentially since he died in 1940. revised dissertations, are welcome and The 18" by 28" permanent marker will be located at 317 Wickes Street in the King encouraged for any topics related to this William District (his last San Antonio residence). Plans for the dedication include con- area of study. Please create a proposal certs of Revueltas’ chamber music and lectures on 1–2 February 2007. An unveiling at based on the submission guidelines the marker site will follow on 3 February. found on the Scarecrow Press website: Realization of these plans rests on fiscal support from Revueltas devotees and www.scarecrowpress.com. Inquiries and admirers. Those wishing to contribute may send donations to: proposals should be addressed either to Musical Bridges Around the World Raoul F. Camus ([email protected], For: Silvestre Revueltas Project 14-34 155 Street, Whitestone, NY 11357) 120 Painted Post Lane or to Renée Camus, music editor at The San Antonio, TX 78231 Scarecrow Press, Inc. (rcamus@ scarecrowpress.com). Contribution is tax deductible to the extent allowed by law. MBAW is a 501(C)3 not-for- profit organization. Federal tax ID #74-2891493. For further information, contact Robert Parker: [email protected] or (305)661-6804.

14 The Bulletin of the Society for American Music • Vol. XXXIII, No. 1 The Bulletin of the Society for American Music • Vol. XXXIII, No. 1 15 16 The Bulletin of the Society for American Music • Vol. XXXIII, No. 1 The Bulletin of the Society for American Music • Vol. XXXIII, No. 1 17 INDEX TO VOLUME XXXII (2006)

Compiled by Amy C. Beal Conference Announcements, 2:47; 3:65. – House Dance Is American Dance” Cook, Susan, a. “Irving Lowens Award (Fikentscher, a), 1:11-13. Personal names are identified as author or for Best Book to Tim Brooks,” 2:39. Images from the Conference, 2:34-37. composer (a), compiler (c), editor (e), perform- Counterpoint, 1:3. Index to Volume XXXI (2005), (Beal, c), er (p), reviewer (r), translator (t), or subject (s); Crawford, Richard, a. “Lifetime 1:22-23. recordings and videos are differentiated by the Achievement Award Presented to “Inimitable Miss Cheatham, The” abbreviations rec or vid; numbers refer to Issue Samuel A. Floyd, Jr.,” 2:33, 38. (Moon, a), 2:25-27. Number: Page(s). The editor welcomes criti- Davidson, Mary Wallace, a. “The Riddle Interest Group Reports, 2:41-42. cisms and suggestions for future indexes. of RIPM’s Americas Initiative,” 1: “Irving Lowens Award for Best Book to 5, 9. Tim Brooks” (Cook, a), 2:39. “2004 Irving Lowens Article Award to Davis, Jacqueline Z., a. “George “Jessica Courtier Wins Mark Tucker Jairo Moreno,” (Radano, a), 2:39-40. Boziwick Appointed Chief of NYPL Award” (Barg, a), 2:40. 2007 SAM/MLA Conference Call for for Performing Arts,” 2:27. “Josephine Wright Receives Papers, 1:21. Deaville, James, a. “H. Earle Johnson Distinguished Service Award” “Amateur Musical Party, The” (Charosh, Bequest Publications Subventions,” (André, a), 2:38-39. a), 3:62. 2:40. Laird, Paul, a. Report of the Treasurer, 2: “American Music History Exhibition: Deaville, James, a. “Notes From the 45. Frederick R. Selch Collection, North: Canadian University Music Lambert, Barbara, a. “American Music University of Chicago” (Lambert, Society/La Société musique des uni- History Exhibition: Frederick R. a), 1:4. versités canadiennes,” 3:61. Selch Collection, University of André, Naomi, a. “Josephine Wright “FAQs on SAM’s New Journal” Chicago,” 1:4. Receives Distinguished Service (Hisama, a), 3:49, 55, 59-60. Letter to the Editor, 1:9. Award,” 2:38-39. “Feder, Stuart” (Block, a), 2:29. “Lifetime Achievement Award Presented Awards of the Society, 1:24; 2:48; 3:72. Fikentscher, Kai, a. “House Music Is to Samuel A. Floyd, Jr.” (Crawford, Bañagale, Ryan, a. “Chicago Conference American Music – House Dance Is a), 2:33, 38. Report (Student Forum),” 2:42. American Dance,” 1:11-13. Lott, R. Allen, a. News of the Society “Band Festival and Wind Conference From the Bulletin Editor, 1:10. (Summary of the 2006 Annual Report” (Camus, a), 3:54. From the Executive Director (Whitmer, Business Meeting), 2:43-44. Barg, Lisa, a. “Jessica Courtier Wins a), 1:18. Magee, Jeffrey, a. “Muhal Richard Mark Tucker Award,” 2:40. From the President (Broyles, a), 1:2, 9; Abrams Inducted as Honorary Beal, Amy, c. Index to Volume XXXI 2:28; 3:49. Member,” 2:33. (2005), 1:22-23. “George Boziwick Appointed Chief of “Majority of Historical U.S. Recordings Block, Adrienne Fried, a. “Stuart Feder,” NYPL for Performing Arts” (Davis, Not Available to the Public,” 1:9-10. 2:29. a), 2:27. “McGinty, Doris Valean Evans” (Wright, Boutwell, Brett, a. “Website Review: Gibson, Joice Waterhouse, c. Some a), 2:29-30. Critical Thinking [artsjournal.com/ Recent Articles and Reviews, 1:14- Moon, Brian, a. “The Inimitable Miss blogs],” 3:56-57. 17; 3:66-71. Cheatham,” 25-27. Broyles, Michael, a. From the President, Graham, Sandra, a. “Victor Fell Yellin,” “Muhal Richard Abrams Inducted as 1:2, 9; 2:28; 3:49. 1:6-7, 20. Honorary Member” (Magee, a), 2: Bulletin Board, 1:19-20; 2:46-47; 3:63- Graziano, John, a. “Colloquium Report: 33. 64. The American and British Musical,” “New Antislavery Video Series” (Norton, Bulletin FAQs, 2:32. 2:32. a), 3:58. Camus, Raoul, a. “Band Festival and Hallman, Diana, a. “Charles Hiroshi New Journal for SAM (Broyles, a), 3:49. Wind Conference Report,” 3:54. Garrett Receives Dissertation New Ph.D. Program in Music, 2:31. “Charles Hiroshi Garrett Receives Award,” 2:40. News of the Society (Summary of the Dissertation Award” (Hallman, a), 2: “H. Earle Johnson Bequest Publications 2006 Annual Business Meeting) 40. Subventions” (Deaville, a), 2:40. (Lott, a), 2:43-44. Charosh, Paul, a. “The Amateur Musical “Help Erect a Headstone for Alexander Norton, Kay, a. “New Antislavery Video Party,” 3:62. Reinagle’s Unmarked Grave in Old Series,” 3:58. “Chicago Conference Report (Student St. Paul’s Cemetery, Baltimore,” 1: “Notes From the North: Canadian Forum)” (Bañagale, a), 2:42. 18. University Music Society/La Société “Colloquium Report: The American and Hisama, Ellie, a. “FAQs on SAM’s New musique des universités cana- British Musical” (Graziano, a), 2:32. Journal,” 3:49, 55, 59-60. diennes” (Deaville, a), 3:61. “House Music Is American Music Radano, Ronald, a. “2004 Irving Lowens

16 The Bulletin of the Society for American Music • Vol. XXXIII, No. 1 The Bulletin of the Society for American Music • Vol. XXXIII, No. 1 17 Article Award to Jairo Moreno,” 2: 39-40. Randall, Annie J., a. “Symposium on Bulletin of the Improvisation at NYU,” 3:57-58. Society for American Music Remembrances, 1:6-7, 20; 2:29-31. Report from the Conference, 2:33, 38-40, 42. Specifications and Rates for Report of the Treasurer (Laird, a), 2:45. Advertisements “Riddle of RIPM’s Americas Initiative, The” (Davidson, a), 1:5, 9. The Bulletin of the Society for American “SAM/CBMR Conference: Chicago, Music is the regular conduit for keeping Illinois (Looks Mighty Good to members updated on the state of the Me)” (Whitmer, a), 1:1, 23. discipline. It contains short articles and “SAM Introduces Consortium of Centers open discussions relating to American for American Music” (Whitmer, a), music, and occasional reviews of 3:60. books, recordings, and web resources. Some Recent Articles and Reviews It also includes information regarding (Gibson, c), 1:14-17; 3:66-71. conferences and performances, along “Sousa Year Wrap-Up” (Warfield, a), 1: with news relating to member activities. 11. It is sent to members three times per year. “Standpoints: Imagining an Ideal Circulation: 1,000 copies. About 100 of Graduate Program in American these go to libraries. Music,” 3:50-53. Student Forum, 1:8; 2:42. SUBMISSION DEADLINES: “Symposium on Improvisation at NYU” 15 December, 15 April, and 15 August (Randall, a), 3:57-58. Warfield, Patrick, a. “Sousa Year Wrap- To reserve, call Mariana Whitmer at Up,” 1:11. (412) 624-3031 or e-mail: “Website Review: Critical Thinking [email protected] [artsjournal.com/blogs]” (Boutwell, a), 3:56-57. Tear sheets will be sent after publication. Wells, Paul, a. “Charles K. Wolfe,” 2: 30-31. SPECIFICATIONS AND PRICES Whitmer, Mariana, a. From the Executive Director, 1:18. Overall Page size: 11" x 81⁄2" (page height Whitmer, Mariana, a. “SAM/CBMR x width). PDF format appreciated; images Conference: Chicago, Illinois (Looks should be in black/white or grayscale. Mighty Good to Me),” 1:1, 23. Whitmer, Mariana, a. “SAM Introduces $ 125.00 Full page: 10" high x 71⁄2" wide Consortium of Centers for American $ 75.00 Half page: 5" x 33⁄4" Music,” 3:60. $ 50.00 Third page: 31⁄2" x 71⁄2" “Wolfe, Charles K.” (Wells, a), 2:30-31. $ 40.00 Quarter page: 21⁄2" x 21⁄4" Wright, Josephine R. B., a. “Doris Valean Evans McGinty,” 2:29-30. All prices are per single issue. A 15% “Yellin, Victor Fell” (Graham, a), 1:6-7, discount will apply for ads placed in all 20. three issues of a volume.

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18 The Bulletin of the Society for American Music • Vol. XXXIII, No. 1 The Bulletin of the Society for American Music • Vol. XXXIII, No. 1 19 AWARDS OF THE S OCIETY

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

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20 The Bulletin of the Society for American Music • Vol. XXXIII, No. 1