The Bulletin Fair, 1914-1925 —Mary E

Home , Addie Graham, A War Song, Bahamas (musician), Berlin Chair, Cesare Sodero, Disposability

Fashioning Modernism: Music in Vanity The Bulletin Fair, 1914-1925 —Mary E. Davis Case Western Reserve University OF THE S OCIETY FOR A MERICAN M USIC In January 1914 the first issue of Vanity FOUNDED IN HONOR OF O SCAR G. T. SONNECK Fair landed with a flourish on newsstands around the country. Previously known as Vol. XXVI, No. 2/3 Summer/Fall 2000 Dress and Vanity Fair, the magazine signaled with its change of title a shift in focus. No longer would clothing and Continuity and Change in the women’s fashions be its primary concern; 1 instead, the magazine would devote itself Hoboken, Georgia Sacred Harp Tradition to matters of style, considered broadly. Baptist church. Once a widespread and Stated in simple terms in the inaugural edito- —Laurie Kay Sommers nondenominational feature of Okefenokee rial, Vanity Fair’s mission would be to cover Valdosta State University region community life, by 1990 this local theater, literature, art, and the outdoors, as sacred harp tradition had become increas- well as “the most interesting doings of the In an era of increased globalization, tech- ingly threatened by factionalism within the most interesting people.”1 The magazine, nology, and change, the classic homoge- local Crawfordite sub-sect of Primitive redesigned to appeal to both men and neous folk region seems increasingly Baptists. This paper discusses the bound- women, sought to be substantive, sugges- aries of a local music community through tive, and trend setting—in short, offering a the remarkable and still emerging story of prescription for a new brand of American a local tradition “going public” as cousins society chic. While not explicitly cited as and song leaders David and Clarke Lee of part of this program, a sophisticated taste Hoboken, Georgia spearhead a deliberate for music was understood to be an essen- effort to open up and change Hoboken- tial ingredient of the Vanity Fair good life, style singing in order to save it. and accordingly, the reader was offered a The Lees are at least fifth generation guide to the most important—in other sacred harp singers who continue a tradi- words, most stylish—composers and their tion that dominated their community social works. Magazine culture, premised on and spiritual life for well over a century. Due disposability and constant change, dictated to religious beliefs that encouraged exclu- that such stylishness be equated with continued on page 34 continued on page 37 Contents Articles Continuity and Change in the Hoboken, Georgia Sacred Harp Tradition ...... 33 Fashioning Modernism: Music in Vanity Fair, 1914-1925 ...... 33 Voices of a Nation: Reflections of World War I in American Magazine Music ...... 41 Steel Away: The Sacred Steel Guitar Tradition of African-American House of God Churches in South Carolina ...... 45 Figure 1. David I. Lee, with his cousin Clarke Lee, Lillie C. Phillips of the Hutchinson Family Singers ...... 59 has spearheaded a revitalization of sacred harp The Advent of Music Festivals in Late 19th-Century Petersburg, Virginia ...... 61 singing tradition. Credit: Laurie Kay Sommers. Departments Report from the Conference ...... 49 anachronistic. Yet, the Okefenokee envi- Letter from Britain from America...... 55 rons of southeast Georgia is a folk region in Performances of Note ...... 56 the classic sense of the word, shaped by Report from the ACLS Meeting ...... 58 Celtic ethnicity, geographic isolation, and News of the Society ...... 64 Primitive Baptist religion, and still retaining Bulletin Board ...... 69 a strong sense of place and identity. One of Conferences ...... 72 the region’s defining folk repertoires is a Reviews of Recorded Materials ...... 73 regional variant of sacred harp singing that Reviews of Books ...... 76 dates at least to the 1850s and is stylistically Obituaries ...... 82 closely tied to hymnody of the Primitive Some Recent Articles and Reviews ...... 83 tion. The ornamentation of Hoboken-style The Bulletin of the Society for American Music performance practice is unusual among The Bulletin is published in the Spring, Summer, and Fall by the Society for American Music. sacred harp singers, and is facilitated by the ©Copyright 2000 by the Sonneck Society, ISSN 0196-7967. slower tempos favored in South Georgia. Editorial Board As David Lee puts it, Editor, Bulletin ...... Larry Worster ([email protected]) Philip Todd ([email protected]) You add those extra notes on purpose, Book Review Editor ...... Petra Meyer-Frazier ([email protected]) because it’d be mighty spare and dry Record Review Editor ...... Orly Leah Krasner ([email protected]) without it. So you get a whole different tune Bibliographer ...... Joice Waterhouse Gibson ([email protected]) out of it....I think the page is restrictive.... Indexer ...... Amy C. Beal ([email protected]) You can use that as a guide. The notes in Copy Editor ...... Joice Waterhouse Gibson ([email protected]) that book is like a skeleton. When you have Articles for submission, accompanied by a 100-word biographical statement, should be addressed a complete skeleton you still don’t have to Phil Todd, SAM Bulletin, P.O.Box 2456, Shawnee, OK 74804; text to [email protected], files to person, and when you got just them notes [email protected]. All materials should be submitted in double-spaced printed copy, on a three- you still don’t have a song. You got to flesh and-one-half inch disk, or as an attachment to e-mail. Microsoft Word 6.0 and Wordperfect 5.1 are it out....And I think that’s where that the recommended file formats. Photographs, musical examples, or other graphical materials should ornamentation is. We put that stuff in 3 be accompanied by captions and desired location in the text. Deadlines for submission of materials automatically and do it all the time. are 15 January, 15 May, and 15 September. In general, the Bulletin follows the styles given in The Much of the singing was done from memory Chicago Manual of Style, 14th ed. (Chicago: University of Chicago Press, 1993). at family gatherings, outside formal commu- Inquiries concerning book reviews should be sent to Petra Meyer-Frazier, 2414 Steele St., Denver, CO 80210; [email protected]. Inquiries concerning reviews of recorded material should be sent nity sings and singing schools, further foster- to Orly Leah Krasner, 30-29 49th St., Apt. 2S, Long Island City, NY 11103; [email protected]. ing a fluid orally transmitted tradition, rather than strict adherence to the printed page. “Hoboken” continued from page 33 Other distinctive features of this tradition widely adopted “705” in deference to the include a deeply felt spirituality, which sive in-group singing and discouraged old ways. The Lloyd hymnal contains no Johnny Lee, David’s father, calls the “inner consumption of the mass media, until tunes; instead, the texts are sung to memo- music” that touches the soul as well as the recently many Crawfordite Primitive Baptists rized sacred harp tunes in the appropriate ear,”4 walking time in a counter-clockwise did not realize that other people sang sacred meter. Tempos in general are quite slow, fashion according to the meter of the tune, harp. As David Lee explained at a singing allowing the singers time to meditate on the and use of the drone. The “drone” is a school held in Seattle, 1998: “Until three- text and to add spontaneous and largely human bagpipe involving a core of six to and-one-half years ago we had never sung unselfconscious ornamentation, which the eight singers standing in the center of the with anybody else outside Hoboken . . . and Lees call “transitioning” from one note to room singing all three parts of the sacred had no concept that there was anybody the next. harp harmonization. Three circles of singers, else. We actually had the feeling that we was Sacred harp singing in this tradition, composed respectively of bass, treble, and the last ones on earth that sang sacred harp. although never part of a church service, is tenor, surround the core group. Each circle We had no idea how mistaken we was!”2 closely intertwined with hymn singing, drones either the tonic, dominant, or octave A man now in his mid-forties, David featuring similar slow tempos, low starting of the scale. Alto singers were not used in grew up without radio, television, or the drone technique and are a motion pictures. This remarkable recent addition to the local singing isolation is dramatized by the fact that style. “Roll On” (275B in the B.F. he bought his first television the White revised Cooper Edition) is the winter of 1997, and that was only to standard drone tune used by David’s play videos of sacred harp sings. His great-uncle Silas Lee in his singing musical world was confined primar- schools. ily to the a cappella group singing This then, was a local music traditions of sacred harp and the community that had remained Primitive Baptist meeting house. This remarkably self-contained for gener- isolation from other musical traditions ations. In 1994, however, everything and from what David calls “main- changed. Factionalism within the stream sacred harp” had led to the church began affecting the formation of a distinctive regional frequency, the joy, and the sense of style closely related to Primitive Figure 2. A monthly sing at the Hoboken Elementary School. community that had been a hall- Baptist hymn singing traditions. Photo Credit: Laurie Kay Sommers. mark of local sings. Clarke Lee, the Hymn texts are drawn from Primitive pitches, and ornamentation. Singers latest in a line of song leaders, was frustrated Hymns by Benjamin Lloyd, an 1841 compi- currently use the B.F. White revised Cooper and discouraged to the point of abandon- lation of words only (hence the term “word- edition of the sacred harp “notebook,” as it ing the tradition altogether. David Lee had book” for the hymnal) organized according is termed; other books have been used in been given Buell Cobb’s book, The Sacred to topic, which reflect Primitive Baptist belief the past but always with four- rather than Harp5 and wanted to attend one of the sings and discipline. Crawfordites use the “700” seven-shape versions of sacred harp nota- described, but had no contacts outside his hymn version as opposed to the more

34 The Bulletin for the Society for American Music • Vol. XXVI, No. 2/3 community.6 Then in June of 1994, Clarke received an invitation to a sing in The Society for American Music Tallahassee; upon request from a The Society for American Music promotes research, educational projects, and the dissemination Tallahassee sing organizer, the shipping of information concerning all subjects and periods embraced by the field of music in American life. Individual and institutional members receive the quarterly journal American Music, the Bulletin, and agent for sacred harp books had forwarded the annotated Membership Directory. Direct all inquires to The Society for American Music, PO Box names of those in the area who had ordered 476. Canton, MA 02021; (617) 828-8450; [email protected]. books, including Clarke’s. As David said, Officers of the Society, 2000-2001 “We got our eyes opened to what sacred President ...... Rae Linda Brown harp could be. And reminded us of what it President-elect ...... Paul F. Wells used to be.”7 A year later they held their first Vice President ...... Mark Tucker public sing in a local Missionary Baptist Secretary ...... Katherine Preston Treasurer ...... William Everett Church and began an experiment designed Members-at-large ...... Judy Tsou, Michael Broyles, Linda Pohly, to save a precious and dying tradition Nym Cooke, Marva G. Carter, Emily Good through a deliberate plan of revitalization Editor, American Music ...... Robert Walser and change. David Nicholls (2001-2004) Editor, Bulletin ...... Larry Worster Within the next year the Lees attended Philip Todd (2001-2003) sings throughout Alabama, Georgia, and Editor, Directory ...... Kate and Robert M. Keller Executive Director ...... Kate Van Winkle Keller; as of 1 July: Mariana Whitmer Florida. The sings filled a void—recreating Conference Manager ...... James Hines the fellowship and joy of singing they had experienced growing up. “This is what we Standing Committee Chairs: American Music Network: Cheryl Taranto; Education: Deane L. Root; Finance: N. Lee Orr; Long- were used to, this is what we’ve been miss- Range Planning: Rae Linda Brown; Development: James P. Cassaro; Dissertation Award: Ralph Locke; ing,” David said, “to go to these sacred harp Honors and Awards: George Keck; Lowens Award: 1999: N. Lee Orr, book; Kim Kowalke, article; sings.”8 Around the same time and unbe- Dissertation: 1998 completion: Ralph Locke; 1999 completion: Catherine P. Smith; Membership: knownst to the Lees, copies of a bootleg Marilynn Smiley; Conference Site Selection: Kay Norton; Nominating: Ann Sears; Public Relations: Homer Rudolf; Book Publications: Lenore Coral; Non-print publications: Mary Jane Corry; Silent tape of a Lee family sing, originally given Auction: Dianna Eiland; Publications: Anne Dhu McLucas; On-line Resources: Robert M. Keller; by a family member to John Garst, one of Cultural Diversity: Tammy L. Kernodle his professors at the University of Georgia Appointments and Ad Hoc Committees: and co-editor of The Social Harp, had prolif- ACLS Delegate: Anne Dhu McLucas; Archivist: Susan Koutsky; Committee on Publication of erated through the national network of American Music: Judith McCulloh; US-RILM Representative: Denise Von Glahn; Registered Agent for sacred harp singers. Singers around the the District of Columbia, Cyrilla Barr; Interest Group Coordinator: Judy Tsou; Representatives to country were captivated by the sound. As Toronto-2000: Katherine K. Preston, Kate Van Winkle Keller described by Minnesota singer Keith Interest Groups: Willard, “The voices heard were clearly American Band History Research: Phyllis Danner; American Music in American Schools and extraordinary and in a style different from Colleges: James V. Worman; Folk and Traditional Music: Ron Pen; Gospel and Church Music: Esther Rothenbusch and Roxanne Reed; Music of Latin America and the Caribbean: John Koegel; Musical any we had previously heard. It seemed to Biography: Adrienne Fried Block; Musical Theatre: Paul R. Laird; Popular Music: Kristen K. Stauffer, be from another world.”9 They knew the Philip Todd; Research on Gender and American Music: Petra Meyer-Frazier and Liane Curtis; Research tape came from near Waycross, Georgia, but Resources: George Boziwick; 20th-Century Music: David Patterson; Historiography: Paul Charosh; were hesitant to intrude on what seemed a Student: Renee Camus, Rebecca A. Bryant; 18th-Century Music: David Hildebrand private, in-group tradition. Listserv: [email protected] After the Lees initial foray to an outside Homepage: http://www.american-music.org sing, however, members of the Lee family Annual Conferences began to invite other singers to Hoboken. 27th Annual Conference: 23-26 May 2001; Trinidad, Port of Spain, in conjunction with the Many in the national sacred harp commu- Center for Black Music Research; Johann Buis, Program Chair; Kate Keller and Jim Hines, Local nity wanted to visit Hoboken and experi- Arrangements Chairs 28th Annual Conference: 6-10 March 2002; Lexington, KY; Susan Cook, Program Committee ence the tradition first-hand. The first all- Chair; Ron Pen, Local Arrangements Chair day sing in fifty years was held in the Hoboken School in December 1996 and American Music Month American Music Month is the month of November. included visitors from eight states. In March of 1999, singers from over twenty-eight states attended the All-Day Sing at Hoboken ual, unselfconscious change; rather, fasola.org web page for “Hoboken” in the School. At most regular monthly sings in Hoboken’s emergence onto the national fall of 1999 produced seven hits, including Hoboken, a member of the Lee family sacred harp scene is both intentional and, two CDs, a video of the singing school given hosted out-of-town guests. At the last all- among Crawfordite Primitive Baptists, highly in Seattle, and a map with directors to the day sing, guests exceeded locals. The result- controversial. At home, the Lees have been Hoboken school. Since 1996, the Lees have ing influx of visitors has both changed and thrown out of their church because of their received invitations from groups in Chicago, spread the isolated Hoboken tradition. “new style” sacred harp. Nationally, their Seattle, Minneapolis, and Washington D.C. Since 1994, when the Lees first “raised interaction with other sacred harp music to lead singing schools on “Hoboken style.” the tent flap and peeked out,” their world communities has involved trips to sings has changed dramatically.10 This is not grad- practically every weekend. A search of the continued on page 36

The Bulletin for the Society for American Music • Vol. XXVI, No. 2/3 35 “Hoboken” continued from page 35 This sacred harp is a living tradition. And and permeates the boundaries of the local. because it’s a living tradition it’s going to Inviting traditional singers to lead singing Southeast Georgia sacred harp, stylistically change and evolve. . . . Now what happened schools is not a new approach for many isolated until the mid-1990s, must now be was there’s a few people that want to stop northern sacred harp conventions, but it time, and you can’t do that. That’s what mapped with lines of diffusion spreading was new for the Lees, pushing them to happened to our sing. We tried to go ahead, to all parts of the country. “Hoboken become articulate and self-conscious about and there was this struggle. You have to style”—a concept created only after contact the hallmarks of their unique style. with outside singers—is no longer As Johnny Lee remarks, “We were confined to a particular place even asked about our style of singing, “The voices heard though its new name links it to that how did we do it, could we show or were clearly extraordinary place. Outsiders come to the “home” teach them, etc. and we were at a of Hoboken style in hopes of expe- total loss to understand. We weren’t and in a style different from any riencing this magical, different sound doing anything but singing.”11 Now, first hand. But Hoboken is sounding discussions of style occur not just at we had previously heard. more and more like Alabama. Seattle sings, but also over e-mail discus- It seemed to be from another world.” and Minneapolis sound more like sion lists where they are forwarded Hoboken than does Hoboken itself. around the country.12 —Keith Willlard This case study illustrates the need The Lees are prepared to give up for new concepts of music commu- part of the Hoboken sound in nity, region, and place. The Internet exchange for the survival of a tradition that move ahead, because the alternative is to is now a place which creates music commu- for them was a way of life. They are delib- die. I don’t feel like we’re losing anything. nities: a “web site” is a “place” that helps erately phasing out stylistic features that Hoboken is changing its voice. Now we still situate the local, define it, change it and inte- made Hoboken sacred harp unique as part walk time to some of our songs. Our people grate it with other localities as much as do down here are accustomed to that. We also of their strategy in order to attract more local older forms of mass communication. The have certain tempos and certain ways that people to the tradition. Ironically, the very transformation of this very local music we sing particular songs, and we understand “Hoboken sound” that so fascinated the how we do that. I think Hoboken still has a community began with face-to-face discord national sacred harp community is no voice, but I think that voice is different than at home, but then went through succeed- longer heard at the monthly Hoboken sing. it was 20 years ago. I regret that. The ing waves of contact through print media, Visiting singers, sitting next to certain local sentimentalist in me regrets that. But on a sound recording technology, the Internet, singers, can still apprentice the style, but the more practical level, I want to see this interspersed with more face-to-face commu- Hoboken sound is more likely to occur at tradition continue. And if I don’t try to help nication. The emergence of this sacred harp an informal home sing after the public sing it thrive and survive, if we all depend on tradition on the national scene is a case in the school. Singing schools still take place someone else to do it, it doesn’t get done.13 study in musical hybridity and change, with in Hoboken, and David and Clarke still the key players actually tracing the moments teach “walking time,” for example, but the and sources of that change as it happened. other stylistic hallmarks of the “old Ethnomusicologists often feel that style” sacred harp, as David now they would like to stop the clock and calls it, are no longer taught in see the “old styles” retained. The Hoboken. To learn Hoboken style, examination of the change in this one needs to attend one of the remarkable tradition and the words “Hoboken style” singing schools held of its advocates and practitioners out of town. There, one may be points out that with change comes treated to a demonstration of the retention. What the Lees retain at drone, for example, which has not Hoboken is not Hoboken sound but taken place in Hoboken for some Hoboken “feel.” Their gift to many twenty years. of their new sacred harp friends, to New style Hoboken sacred harp their children, and to those residents draws on approaches learned from of southeast Georgia who are Alabama singers. Tempos are speed- coming back to a tradition they had ing up, song pitch is higher, and Figure 3. Singing School in Hoboken led by David Lee (standing, abandoned, is the focus on the there is less and less time for orna- right). Photo Credit: Laurie Kay Sommers. sacred in sacred harp. As Clarke Lee mentation even among those who says, “We didn’t sing as a tradition or know how to do it. Fewer people walk The mass media always have been a a ritual or whatever the word would be. We time, and instead of a single song leader (as mechanism to transmit local music styles sang for the spiritualism that’s found in the has long been the case in Hoboken), a new across boundaries, and a means to change text and the melodies of these songs.”14 For leader or leaders stand in the center of the localized and regional traditions that devel- the Lees, sacred harp is a God-inspired square for each selection. oped in comparative isolation before the work. And this feeling—“singing from the Various people have urged the Lees not advent of radio, the recording industry, and heart”—is still central to Hoboken sings. to change. For David Lee, this is not an television. Today, the Internet creates virtual option. communities, separated by time and space, continued on page 44

36 The Bulletin for the Society for American Music • Vol. XXVI, No. 2/3 “Vanity Fair” continued from page 33 which the magazine is dedicated, but professional life, he wasted no time in find- modernity; thus Vanity Fair, as one of the rigorously to exclude all others. ing French publications that could serve as nation’s premier upscale periodicals, For Nast, of course, the only class worth models for his own magazines. With Vogue, presented in its pages nothing short of a bothering about was the upper class, and Nast ruled a publication specifically geared proposed canon of musical modernism. The his target was not simply those already to promoting French culture. It was, after shaping of that canon, and the implications ensconced in society, but those who aspired all, a fashion magazine, and fashion was it held for the understanding of contempo- to it. On the pages of Vogue, his prototypi- dominated completely, at least through the rary music in America during the first cal class publication, Nast both reflected and 1950s, by French couturiers.8 To strengthen decades of the twentieth century will be the shaped the idea of uppercrust America in the identification his magazine with Gallic subject of this essay. matters of fashion and social taste. The chic, Nast allied himself with one of the The brainchild of the legendary publisher extension of these principles to the broader most original publishers in the French fash- Condé Nast, Vanity Fair was a magazine realms of culture, including the arts and ion press, Lucien Vogel, whose elegant and with a mission. Nast, having first salvaged international news, was the task set for the expensive fashion journal La Gazette du Collier’s Magazine from almost certain magazine Nast launched on the heels of his Bon Ton announced on its masthead cover- financial ruin in the 1890s, took the bold manifesto on class publications, Vanity Fair. age of “arts, modes, et frivolities.”9 step of purchasing Vogue, one of the earli- Vanity Fair emerged out of Dress maga- Not simply a journal of fashion and soci- est and most elitist women’s fashion magazine, which Nast had perceived as a rival to ety, however, the Gazette du Bon Ton also zines, in 1909. While its subscription list Vogue and thus purchased in 1913. included extensive coverage of the arts and included some of the richest and most Dissatisfied with the title, he also purchased culture. On this side of the ocean, Nast socially prominent women in New York, the rights to the name Vanity Fair; the first spread the Gazette’s material between two Vogue at the time of Nast’s purchase was issue of Dress and Vanity Fair, containing magazines, with Vogue handling the fash- foundering, with falling readership and articles on fashion, art, music, and interna- ion matters, and Vanity Fair covering the declining advertising sales. Within two tional news, appeared in September 1913. rest. The latter magazine’s pro-French tone years, Nast had turned it around, trans- In March 1914, a new editor, Frank was explicit, especially as the First World forming it from a dignified weekly focused Crowninshield, took the helm, insisting that War dragged on. Typical were the articles on the American aristocracy into a fort- the magazine’s named be shortened to “Dropping Bombs on the Boches,”10 nightly journal emphasizing the wealth, Vanity Fair, and announcing a new complete with photographs from the front, glamour, and social ambition that defined program for the publication, based in chron- and the “What We Owe to France—A Debt twentieth-century high society.2 The new icling “the stage, the arts, the world of letters, that Cannot be Measured in Terms of Money Vogue featured a glittering mix of fashion sport . . . from the frankly cheerful angle of or Munitions.”11 Beyond the political agenda, and social news as well as an expanded the optimist or . . .from the mock-cheerful and more important to Nast, was the cultural advertising section, providing the means for angle of the satirist.”4 Crowninshield’s attrac- program. Here it was a simple matter of readers to acquire the products and services tion to humor was matched by his involve- maneuvering to bring French artists to the touted in its articles and editorial columns. ment with modernist music and visual art; fore. Nowhere is this effort more transpar- Nast’s strategies for content and adver- he was instrumental in founding the ent than in the area of music. tising in Vogue were part of his larger Museum of Modern Art in 1929, and had a In its earliest issues Vanity Fair empha- conception for magazine development, personal art collection that included works sized the merits of American popular music. which he spelled out in a 1913 article by Georges Braque, André Dunoyer de An unsigned article in the July 1914 issue, tellingly entitled “Class Publications.”3 Nast Segonzac, and Marie Laurencin.5 for example, celebrated the works of minced no words about his objectives: Crowninshield’s modernist streak and George M. Cohan,12 while a more elaborate Even if we grant for the sake of argument Nast’s elitist marketing strategies combined essay on Cohen by Carl Van Vechten that “all men are created equal,” as the to set a high-minded but lighthearted tone published in April 1917 announced “The Declaration of Independence so bravely sets for Vanity Fair. Opulent and elegant, the Great American Composer,” noting in a forth, we must admit in the same breath that magazine featured articles and criticism by subtitle “His Grandparents are the Present they overcome this equality with astonishing the best writers of the day, cutting-edge Writers of Our Popular Ragtime Songs.”13 rapidity. Among the 90 million inhabitants reports on the arts from major European and Favorably citing Louis Hirsch, Edward of the United States, as a matter of fact, there American cities, and in Crowninshield’s Claypoole, and Irving Berlin, among others, is a lack of “equality”—a range and variety words, coverage of “the things people talk Van Vechten’s piece is a speculation on the of man and womankind—that simply 6 staggers the imagination; every degree of about.” Behind it all lurked Nast’s convic- future of American music: learning from the man who prefers to read tion that the new American upper class When some curious critic, a hundred years his Testament in the original Greek to the should look in one direction only for a hence, searches through the available man who can’t read anything in any model—namely, to France. archives in an attempt to discover what was language. . . . This vast population divides Nast’s attraction to France was deeply the state of American Music at the beginning itself not only along the lines of wealth, rooted. He was, in fact, part French himself. of the Twentieth century, do you fancy that education, and refinement, but classifies His mother came from a long line of French he will take the trouble to exhume and dig itself even more strongly along the lines of aristocrats, as did his first wife, Clarisse into the ponderous scores of Henry Hadley, interest. . . .[A magazine’s] publisher, editor, Coudert Nast.7 His view of sophisticated Arthur Foote, Ernest Schelling, George advertising manager and circulation man culture and good taste was, from an early Chadwick, Horatio Parker, and the rest of must conspire not only to get all their age, shaped by French values, and, in his the recognizidely “important” composers of readers from the one particular class to Continued on page 38

The Bulletin for the Society for American Music • Vol. XXVI, No. 2/3 37 “Vanity Fair” continued from page 37 with the ballet, and Cocteau whetted emphasizing his involvements with popu- the present day? . . . A plethora of books and American appetites with the claim that lar music in the cabarets and cafés of articles on the subject will cause him to Parade had turned “half the artistic public Montmartre, and commenting on his idio- wonder why so much bother was made of Paris against the other” primarily because syncratic use of texts and titles to create new about Edward MacDowell . . . But if he is of its lighthearted and mundane represen- modes of musical expression. Most signifi- lucky enough to run across copies of tation of everyday life. For Vanity Fair’s cantly, popular music models had led Satie Waiting for the Robert E. Lee, Alexander’s readers, he provided a précis of the open- to set French composers free from the Ragtime Band, or Hello Frisco, his face will light up . . . and he will try to find out, ing night performance, describing the tyranny of major-minor tonality, according probably in vain (unless he unearths a copy costumes and scenery, as well as the clap- to Van Vechten, and the scandalous ballet of this article in some public library) ping and hooting, hissing and fistfights that Parade was simply the latest and most imag- something about the composers Muir, the work provoked in the audience. inative showcases of these compositional Berlin, and Hirsch, the true grandfathers of Photographs of the costumed characters, ideals.19 The irony, charm, simplicity, and the Great American Composer of the year including the two-man horse reported in a clever wit of his compositions seemed 2001. perfectly consistent with the sophisticated cultural program that Vanity Van Vechten’s attraction to popu- Even if we grant Fair had been promoting from the lar music, which he describes as “the for the sake of argument outset. In short, Satie and Vanity Fair only music produced in America looked like a perfect match. today which is worth the paper it’s that “all men are created equal,” It was only after 1921, however, written on,” is rooted in his convic- that Satie’s position as the magazine’s tion that, as he puts it, “overlooking as the Declaration of Independence poster boy for musical modernism the fact that their music is much so bravely sets forth, was established. The blitz began in pleasanter to listen to . . . [these September that year, and remained composers] are expressing the very we must admit in the same breath intense for over two years; in 1921 soul of the epoch, while their more that they overcome this equality articles either by or about Satie serious confreres . . . have nothing appeared in consecutive issues of new to say and no particular reason with astonishing rapidity. the magazine between September for saying it.”14 Ragtime and popular and January, and in 1922, Satie was —Condé Nast music, he argues, offer the means to featured in eight out of the twelve new forms and genres, overdue to issues. The first two articles to appear replace “symphonies or other worn-out and caption to have Parisians “still fighting furi- were by Satie himself, billed as the first in a exhausted forms which belong to another ously,” rounded out the report. Cocteau series by this “satiric clown, [this] fantastic age of composition.” Such compositional reserved comment on Satie’s music for the juggler.”20 His ironic “Hymn in Praise of challenges, he notes, have already been end of his essay, praising his clear and Critics,” published in September 1921, a taken up in Europe, where Igor Stravinsky natural orchestration, his “purest rhythms” tirade against critics rather than a hymn in and Erik Satie are working “to express and “frankest melodies.” But the essay’s their praise, had originated as a lecture Satie modernity in tone, allowing the forms to most trenchant remarks about music delivered three years earlier, introducing the create themselves.” “Alas,” he sighs in concern the manner in which Satie uses first concert of music by the young musi- conclusion, “none of these men is an popular idioms to infuse the score with a cians who gathered around him, known as American.”15 modernist sensibility. In Parade, Cocteau Les Six.21 At that time, Satie had a particular Only a few months after the publication asserts, “two melodic planes are superim- axe to grind with music critics, having been of this essay, in September 1917, the focus posed,” and “without dissonance” Satie sued for slander by one of their ranks, an of musical coverage in Vanity Fair shifted “seems to marry the racket of a cheap ordeal which left him permanently embit- to France, where popular music’s trans- music-hall with the dreams of children, and tered: “The critic,” he wrote, “knows every- gression of high art boundaries à la Van the dreams and murmur of the ocean.”17 thing—sees everything—tells everything— Vechten’s ideal had reached a climactic Six months later Satie was directly in the hears everything—investigates everything— point. The ballet Parade, with scenario by Vanity Fair spotlight, where he would eats everything—confuses everything. What Jean Cocteau, sets and costumes by Picasso, remain until 1925, the year of his death. In a man!!!” First published in the small and choreography by Massine, and music by March 1918, Van Vechten produced a short-lived avant-garde magazine Action; Satie had caused an uproar in Paris the lengthy profile of the composer, entitled the essay was simply translated and previous May precisely because of its impli- “Erik Satie: Master of the Rigolo, A French reprinted in Vanity Fair. cation of popular culture materials, includ- Extremist in Modern Music,” which ran with Likewise, the following month the maga- ing music. It was a coup, then, for Nast to a photograph and a caption describing him zine ran another translated Satie commen- publish scant months afterward an article as “a Modernist of the most radical type.”18 tary, “A Lecture on The Six” which had also by Cocteau himself, explaining the work in Reeling in readers with the report that “he originated as a pre-concert talk in Europe.22 some detail.16 An editorial reported that has been the fashion in France and is rapidly This essay formally introduced Vanity Fair Satie, leader of the Futurist musicians, becoming so in America,” Van Vechten readers to Les Six, and a handsome photo- Picasso, leader of the Cubist artists, and the presented the first major English-language graph of the stylishly attired group, posed poet Cocteau, had sparked a Parisian “fury” overview of the Satie’s life and work, in front of the Eiffel Tower, solidified the

38 The Bulletin for the Society for American Music • Vol. XXVI, No. 2/3 identification of these composers with Not simply a passing fad, such a popu- Auric, the poet Tristan Tzara, and the author Parisian chic. A brief editorial note described larizing stance could, according to Paul Morand also appeared in these years, Les Six as “young musicians embodying Rosenfeld, lead to a profound expressive- continuing to offer evidence that Satie and more or less the ideals of Erik Satie,” but in ness reflective of contemporary life. His arti- his followers Les Six were modernists of the the body of his essay, Satie called himself cle “Satie and Socrate,” which appeared in highest order.32 simply their “mascot.” His bond with them, the December issue that year, asserted in its As one of Condé Nast’s signature class he wrote, was an adherence to the New subtitle that “the Zany of modern music publications, Vanity Fair’s mandate was to Spirit, the aesthetic ideal set out by [had] . . . revealed himself as a grave and alert its sophisticated American readers to Guillaume Apollinaire around the time of serene poet.”29 In Socrate, Rosenfeld trendy artists and their works. That the musi- Parade, which centered on the importance claimed, the simplicity and directness that cians featured in the magazine in the early of surprise as a quality of modernist art. The had marked Satie’s compositions from the part of the century were mostly French new spirit, in Satie’s view, was “the spirit of outset were perfectly reconciled with a comes as no surprise, given Nast’s personal the time in which we live—a time fertile in higher expressive purpose, and the aesthetic background and views about culture. In surprises,” defined by “a return to classic of popular music was for the first time presenting articles by these artists, as well form, with an admixture of modern sensi- meshed fully with art. This, of course, was as about them, Vanity Fair provided access bility.”23 the ideal for modern music that Van Vechten to modernist aesthetic thought. By match- Vanity Fair would publish two more of had outlined for Vanity Fair’s readers as ing these essays with clever photographs Satie’s pre-concert commentaries: “A early as 1917, when he argued for a new and witty illustrations and cartoons, the Learned Lecture on Music and Animals,” in American music based in ragtime and popu- magazine integrated avant-gardism into a English translation, in May 1922, 24 and, in lar song: Satie, Rosenfeld suggested, was broader and attainable prescription for fash- October that year, “La Musique et les showing Americans the way forward. ionability. Finally, the magazine promoted enfants,” which, extraordinarily, appeared Two months later, the influential critic the idea of a Franco-American musical entirely in French.25 The magazine also Edmund Wilson, Jr. weighed in on the issue alliance—with France always maintaining solicited two new articles from Satie, with an article entitled “The Aesthetic a cutting edge. As a cartoon in Vanity Fair namely, an appreciation of Igor Stravinsky, Upheaval in France,” focusing specifically lamented, while the French were “inspired which was published in February 1923,26 on the influence of jazz and what he called by vermouth cassis,” in America “we must and a similar piece on Claude Debussy, the “Americanization” of French literature have morals.” which for reasons unknown remained and art.30 The article lamented the aban- unpublished.27 These articles all had the donment of traditional French values—“the A native of northeast Ohio, Mary Davis effect of bringing Vanity Fair’s readers into ideals of perfection and form, of grace, and holds a bachelor’s degree in Music from St. direct literary contact with the composer, measure, and tranquility”—by the nation’s Mary’s College, Notre Dame; Master’s degrees exposing his wit and quirky personality younger artists, who had instead turned to in Piano Performance (Peabody Conservatory, without the necessity of musical interpreta- “the extravagances of America.” This shift, 1984) and Musicology (New England tion or intermediation. Wilson asserted, was motivated by a reac- Conservatory, 1990); and a Ph. D. in Running parallel to Satie’s own commen- tion against nineteenth-century French art, Musicology (Harvard University, 1997). Davis’s taries was a series of articles by Vanity Fair’s which found its antithesis in American research interests include the study of music critics, all emphasizing the importance of movies, dances, and music; no wonder, in twentieth-century France, the relationship Satie’s popularizing aesthetic to the devel- then, that avant-garde composers in France of musical aesthetics to fashion and other opment of modernist music. In November were presenting fox-trots, ragtimes, and aspects of popular culture, and the influence 1921, for example, Paul Rosenfeld’s article charlestons in the guise of high art. In of tourism on musical practice in Bali, “The Musician as Parodist of Life,” revisited essence, Wilson was turning the paradigm Indonesia. In addition to teaching courses on the work of Les Six, which he described as for modernism already established by Twentieth-Century Music, World Music, and marked by “gaily contemptuous irony and Vanity Fair on its head, arguing that the American Music she coaches accompanying ‘unpretentious charm.’”28 Rosenfeld asserted most salient aspects of modernism, which and piano. the importance of popular idioms as a cata- the magazine had demonstrated to be most Notes lyst for new music: “As much at home in the clearly evident in French music, had in fact 1. The unsigned editorial also proclaimed vaudeville house and movie cavern as the originated in America. that “Vanity Fair is a new magazine concert hall,” he wrote, their music “speaks With Satie and his followers as a focal unhampered by tradition and building day-by- the vulgar tongue, is slangy, unpretentious, point, Vanity Fair’s conflation of French and day to the wishes of its readers;” see Vanity popular,” implicating “jazz, ragtime, military American musical modernism continued Fair, January 1914, 13. 2. For an accounting of Nast’s life and career, calls, the improvisations of Negro and through the next three years. Among the see Caroline Seebohm, The Man Who was South-American dance orchestras, and even most significant articles published in the Vogue (New York: Knopf, 1982). . . . the canned, absurdly inhumanized magazine were a truncated translation of 3. The article was published in The expressions of the gramophones and auto- Cocteau’s pro-Satie manifesto, Le Coq et l’ar- Merchants and Manufacturers’ Journal, a matic pianos.” The Dadist muse of Les Six, lequin, which appeared in the October 1922 Baltimore-based trade publication, in July he informed readers, “swears blithely, wears issue, and Virgil Thomson’s synthetic assess- 1913. See Seebohm, 80. breeches, thinks Freud horribly soft and ‘so ment entitled “How Modern Music Gets that 4. Frank Crowninshield, “In Vanity Fair,” March 1914; repr. in Cleveland Amory and 31 1914’ and adores Jack Dempsey.” Way.” Essays by the composer Georges Frederic Bradlee, eds., Vanity Fair: A

continued on page 40

The Bulletin for the Society for American Music • Vol. XXVI, No. 2/3 39 “Vanity Fair” continued from page 39 11. Joseph H. Choate, “What We Owe to conference on “Animals in Music,” held on 2 France,” Vanity Fair, May 1917, 43. November 1916 and presided over by Satie’s Cavalcade of the 1920s and 1930s (New York: friend, the pianist Ricardo Viñes; Satie Viking, 1960), 13. 12. “George M. Cohan: A Genius of the Stage Who Has Become the Most Important Figure subsequently presented a revised version of 5. Crowninshield was largely responsible for on the American Theatrical Horizon,” Vanity the talk at a “Children’s Evening” sponsored by insisting that the magazine reproduce Fair, July 1914, 53. the pianist Jeanne Alvin on 19 December 1919. advanced art by Picasso, Gaugin, Braque, See Satie, Ecrits, 267. The Vanity Fair essay Modigliani, and others despite threats of 13. Carl Van Vechten, “The Great American was illustrated with two woodcuts by Paul withdrawal from advertisers who found these Composer,” Vanity Fair, April 1917, 75. The Vera. works “decadent and distorted.” See Amory article is illustrated with photographs of Hirsch, Berlin, and Claypoole. 25. Erik Satie, “ La Musique et les enfants,” and Bradlee, 11. Vanity Fair, October 1922, 53. This 6. “There is no magazine that is read by the 14. Ibid. commentary originated as a lecture for another people you meet at lunches and dinners,” 15. Ibid. of Mme Alvin’s “Children’s Evenings,” this time Crowninshield reportedly said to Nast, “Your 16. Jean Cocteau, “Parade: Ballet réaliste, In on 17 February 1921. The version of the essay magazine should cover the things people talk Which Four Modern Artists Had a Hand,” was published by Vanity Fair was about – parties, the arts, sports, theater, humor, Vanity Fair, September 1917, 37. Cocteau typographically faithful to Satie’s idiosyncratic and so forth.” Quoted in Seebohm, 106. claimed that writing this article suggested to manuscript, which incorporated ellipses 7. Nast’s mother, Esther Ariadne Benoist, him the “idea of writing a manifesto in favor of throughout the text to indicate pauses and came from a long line of French aristocrats, the new music and what it promised to silences. including the Chevalier de Saint Louis and engender among the young; the resultant tract, 26. Erik Satie, “Igor Stravinsky: A Tribute to Guillaume Benoist, Chamberlain to Louis XI. Le Coq et l’arlequin, was published in 1918. See the Great Russian Composer by an Eminent Likewise, Clarisse Coudert boasted a family Francis Steegmuller, Cocteau: A Biography French Confrère,” Vanity Fair, February 1923, tree that included Charles Coudert, friend to (Boston, David Godine, 1986), 202. 39. This essay was not published or otherwise General Lafayette, as well as other scions of 17. Ibid., 106. presented in France. It appears that the article French society. See Seebohm, 65. was requested from Satie by Sybil Harris, a 18. Carl Van Vechten, “Erik Satie: Master of 8. On the history of Vogue during this wealthy American living in France who acted the Rigolo,” Vanity Fair, March 1918, 57. period, see Carolyn Hall, The Twenties in as a patron to Satie and Les Six in the early Vogue (New York: Harmony Books, 1983). 19. Van Vechten, ibid., notes that Satie 1920s. See Satie, Ecrits, 263. “wrote music in the whole-tone scale before 9. Vogel had hired a team of artists, including 27. Erik Satie, “Claude Debussy,” Ecrits, 65. Debussy ever thought of doing so” and Georges Lepape, Paul Iribe, and Charles Also apparently requested by Sybil Harris, the maintains that he “furnished one of the Martin, to create these imaginative drawings, article appears in English translation in Nigel necessary links between the music of the past and Nast saw that there could be a place for Wilson, The Writings of Erik Satie (London: and the music of the future.” one or all of them at Vogue. The Gazette du Eulenburg, 1980), 106-110. Bon Ton suspended operations shortly after 20. This text serves as the caption for the 28. Paul Rosenfled, “The Musician as August 1914, but World War I brought the reproduction of Picasso’s full-length portrait of Parodist of Life,” Vanity Fair, November opportunity for Vogel and Nast to participate in Satie. 1921, 43. a joint publishing venture, the production of a 21. Erik Satie, “A Hymn in Praise of Critics, 29. Paul Rosenfeld, “Satie and Socrate,” special English-language issue of the Gazette Those Whistling Bell-Buoys Who Indicate the Vanity Fair, December 1921, 46. du Bon Ton. Devoted entirely to coverage of Reefs on the Shores of the Human Spirit,” the French fashion shows mounted in Vanity Fair, September 1921, 49. The essay 30. Edmund Wilson, Jr., “The Aesthetic connection with the Panama Pacific originated as a talk given by Satie at the first Upheaval in France: The Influence of Jazz in International Exposition of 1915, the issue is as public concert by Les Six at the Théâtre du Paris and the Americanization of French much a political document as it is a chronicle Vieux-Colombier, 5 February 1918. It was first Literature and Art,” Vanity Fair, February 1922. of style, declaring, for example, in a Preface by published in the avant-garde French magazine The article was illustrated with reproductions Paul Adam, that since “the Latin Races are Action in 1921; other contributors to this of a work by Francis Picabia, a Dada fighting to uphold their taste against Teutonic publication included Cocteau, Paul Eluard, manifesto, and poster advertising Blaise barbarity,” it was only to be expected that “the André Malraux, and Tristan Tzara. See Action: Cendrar’s “novel filmé,” La Fin du monde. Paris fashion should take the lead this spring, Cahiers individualiste de philosophie et d’art, 31. Virgil Thomson, “How Modern Music as in the past.” During the war, many of the Vol. 2, No. 8, (1921), 8-11. Gets That Way: Some Notes on Schoenberg, artists originally affiliated with Vogel’s Gazette 22. Erik Satie, “A Lecture on ‘The Six’: A Stravinsky, and Satie as Representative did produce work for Nast, including Moderns,” Vanity Fair, April 1925, 46. illustrations and striking cover art for Vogue. Somewhat Critical Account of a Now Famous 32. These include Georges Auric, “Erik Satie When Vogel revived his magazine in 1920, Group of French Musicians,” Vanity Fair, and the New Spirit Possessing French Nast began to publish a parallel American October 1921, 61. The original occasion for the Music,Vanity Fair, July 1922, 62; Jean Cocteau, version, entitled The Gazette du Bon Genre; in remarks was a concert of music by Les Six and “The Comic Spirit in Modern Art,” Vanity Fair, that same year Nast inaugurated a French a “Festival Erik Satie” sponsored by Cocteau September 192266; Cocteau, “The Public and version of Vogue, appointing Vogel’s wife, and Paul Collaer, held in Brussels in April 1921. the Artist,” Vanity Fair, October 1922, 61; Cosette de Brunhoff, as its chief editor. Finally, Satie was compelled to give the lecture when Tristan Tzara, “News of the Seven Arts in in 1921, Nast acquired the faltering French Cocteau, who had originally planned to speak Europe,” Vanity Fair, November 1922, 51; and fashion magazine L’Illustration des Modes, for at the event, withdrew at the last minute. Satie Paul Morand, “Modernist Music and the Group which Vogel and Cosette de Brunhoff had presented the same lecture in Rouen in August of Six,” Vanity Fair, August 1923, 51. been serving as editors, and reinvented it as a 1922. See Satie, Ecrits, ed. Ornella Volta (Paris: middle-market women’s magazine, Le Jardin Editions Champ-Libre, 1990), 273. des Modes. See Raymond Gaudriault, La 23. Satie locates this “modern sensibility” in Gravure de la mode féminine en France (Paris: the works of three members of Les Six— Les Editions d’Amateur, 1983), 111-16. Georges Auric, Francis Poulenc, and Darius 10. Bernard Boutet de Monvel, “Dropping Milhaud—and claims that the remaining Bombs on the Boches: The Personal three—Louis Durey, Arthur Honneger, and Experiences of a French Aviator Bombadier,” Germaine Tailleferre—are “pure Vanity Fair, July 1916, 37-38. Boutet de impressionists.” “There is no harm in that,” he Monvel was one of the illustrators in Vogel’s continues, “I myself, thirty years ago, was Gazette du Bon Ton circle, and worked for impressionist.” Nast after the war. 24.Erik Satie, “A Learned Lecture on Music and Animals,” Vanity Fair, May 1922, 64. This commentary originated as a lecture for a

40 The Bulletin for the Society for American Music • Vol. XXVI, No. 2/3 Voices of a Nation: Reflections of World War I in American Magazine Music magazines adopted a smaller page size to Gonna Keep ‘Em Down on the Farm,” and —Bonny H. Miller conserve paper, the sheet music industry “Good Morning Mr. Zip Zip Zip.” Southeastern Louisiana University got all the paper it needed. In cookie cutter Although America only fought for nine- fashion, publishers churned out songs to teen out of the fifty-two months of the war, Because songs published in popular reinforce military morale, comfort those group singing was an essential part of both magazines mirror the prevailing tastes of the suffering loss or hardship, and focus the the military and civilian strategy to shape day, these songs may be viewed as reflec- community effort at home. Like film in attitudes in support of the war.7 New York tive of the attitudes of the public who World War II, song writing in World War I music publisher Leo Feist advertised in 1918 purchased them. In addition, magazines and was used as an essential propaganda tool. with the slogan “A nation that sings can newspapers have at times been used by the As Les Cleveland observes, “Wartime gives never be beaten; each song is a milestone U. S. government to mold public sentiment. popular music an extra urgency and on the road to victory.”8 In the military, During World War I, when films were still currency.”4 Frederick Vogel documents in songs for organized and spontaneous silent and commercial radio was non-exis- his study World War I Songs that over 35,000 singing came from traditional folk songs, tent, the newspapers and magazines hymns, and favorite tunes from were the most direct means to reach previous wars. Fresh songs in popu- the nation. In 1917, for example, After the Armistice, however, lar styles like “Goodby Broadway, President Woodrow Wilson person- Hello France” were also desirable to ally asked Ladies’ Home Journal songs from several periodicals raise morale, enhance recruiting, and editor Edward Bok to popularize show a range of reactions serve as a means for relaxation and meatless and wheatless days in the solace for the troops. Songs like magazine’s cooking columns.1 Were to the devastation of the war; “How I Hate to Get Up In the World War I songs included in maga- in short, these songs Morning” permitted soldiers to zines as an echo of popular feeling, complain about the hardships of or as a means to construct appropri- speak for different voices military life through an acceptable ate American attitudes? Music found social outlet. in magazines and newspaper supple- in the nation. In the public sector, group sings ments suggests that some songs were at community events and in the certainly included to boost morale workplace were organized to keep and build patriotism. After the Armistice, songs connected with the war were copy- morale high, promote a unified nationalism, however, songs from several periodicals righted between 1914 and 1919, and many and stress patriotic duty. Four-Minute show a range of reactions to the devasta- more were composed but not copyrighted.5 Singing was systematically used in theaters, tion of the war; in short, these songs speak In Vogel’s opinion, the quality of these songs movie houses, and club meetings. The for different voices in the nation. has rarely been equaled. He writes, “Trite “American Consecration Hymn,” published Patriotic songs have been included in and transitory as most of the American in the respected religious weekly magazine American household magazines ever since World War I songs were, as a whole they Outlook in 8 May 1918 was one such song the anonymous “Massachusetts Song of exceeded the originality and quality of even composed for community singing. The Liberty” was published in Bickerstaff’s the finest hits produced in World War II.”6 author of the text, Percy MacKaye, was well Boston Almanack for 1769 and 1770. After The most memorable of these songs have known for his civic and community the War of 1812, literary periodicals such as Port Folio, Polyanthos, and Portico included battle songs that proudly celebrated recent victories over the British navy.2 Although Civil War magazine music texts were characterized by expressions of greater anxiety and grief than in earlier wars, these were conveyed in straightforward terms in uncomplicated musical settings in the pages of Godey’s Lady’s Book, Peterson’s Magazine, and the Lady’s Friend.3 During World War I, the sheet music and recording industries had a key mission in Example 1. Francis MacMillen, “American Consecration Hymn,” measures 10–13. the war effort: to produce rousing songs that would rally patriotic feelings both at home and abroad. Sheet music publishers were become standards: George M. Cohan’s pageants, designed to mold and unite given special consideration and material “Over There”; Irving Berlin’s “How I Hate community spirit and promote progress goods for that purpose. While household to Get Up in the Morning,” “How You continued on page 42

The Bulletin for the Society for American Music • Vol. XXVI, No. 2/3 41 “Voices” continued from page 41 “In Flanders Fields,” published by the The overall feeling of doubt and melan- through democratic art. Although he had Ladies’ Home Journal, in October 1919.11 choly undermine the challenge of the dead earlier envisioned his pageants as an alter- Hofmann had served as musical editor of to “take up our cause.” Strikingly different native to war, MacKaye too joined in the the Ladies’ Home Journal since 1907. From from the rousing patriotic numbers national war effort. The lyrics were written 1893 on, the magazine published several published in the magazine before the in response to President Wilson’s words, pieces of music annually. In 1918, “The Armistice, Hofmann chose to convey his “Right is more precious than peace.” The Star-Spangled Banner, as Josef Hofmann private feelings about the war in a very march-like music by violinist Francis Plays It on the Piano,” was published in July public forum. This setting, composed just MacMillen gives the hymn a sense of and “The Song of the Marines, arranged by for the Ladies’ Home Journal, was one of breadth and suggests an American destiny A. Tregina, United States Marine Band,” in Hofmann’s final contributions to the maga- that awaits fulfillment. The magazine notes November. In February 1919, the Journal zine, and presents a strong anti-war state- that the “American Consecration Hymn” was published “Dr. Henry Van Dyke’s ment in a serious art song setting. sung with effect by the President’s daugh- Home-Coming Song [Where the Flag Is Full Familiar patriotic songs as well as origi- ter, Miss Margaret Wilson.9 The hymn is built of Stars]” by C. Austin Miles (a reprint from nal numbers had appeared in newspaper of four similar phrases, and rises to a climax 1911), “In Flanders Fields” in October, and supplements frequently during the war. of excitement with the rising figure “forth “Little Town of Bethlehem” in December. Rallying songs were the order of the day in the Chicago Herald Examiner, as docu- mented in the Lester S. Levy Collection of Sheet Music. The Sunday, 23 June 1918 edition contained two songs: “Jack Norworth’s Great Trench Song: The Further it is from Tipperary, the Nearer it is to Berlin,” and “We are Coming: Marching Song of America,” by John Philip Sousa. The newspaper advertised that the following Sunday edition would contain “I’d Like to See the Kaiser With a Lily in His Hand.” These songs are doubtless typical of many patriotic efforts in popular idioms that appeared in the news press throughout the war. A very different view of the Great War, in Example 2. Horatio Parker, “Hymn for the Victorious Dead,” measures 21–28. vaudeville style and laced with comic irony, was published in July 1919 in Chicago’s to fight,” heard three times successively More than twenty musical settings of Half-Century Magazine, a family journal higher, as shown in Example 1. John McCrae’s 1915 poem “In Flanders from the black periodical press.12 The music The sense of an American holy cause was Fields” have been written by composers published in this magazine between July also conveyed in the 18 December 1918 from John Philip Sousa to Charles Ives. For and November 1919 was provided by the Outlook in Horatio Parker’s spacious anthem, the great poem of the war, Hofmann, like Griffin Music Company of Chicago. “Hymn for the Victorious Dead,” one of his Ives, chose a sombre mood. The tonal “Shrapnel Blues” brought the ragged three final works, each with the war as its theme. As a war song, the number is more serious than most, being addressed directly to God. Such religious entreaties were not usually part of the rallying, popular repertoire. Parker’s through-composed setting is unusually long for publication in the popular press and wanders through many keys and motivic variants in the course of three verses. Although the setting is accessibly composed in the harmonic style of church anthems, a preponderance of first inversion chords suggests ambivalence or lack of final- Example 3. Josef Hofmann, “In Flanders Fields,” measures 92–97. ity, as seen in Example 2. Parker wrote, “Serious music is not with- language is more traditional than Ives, but rhythms of vaudeville and Broadway into out its value in such times as these.” His the musical style is less theatrical than the American parlor. According to an ad in solemn setting could have been used in Sousa’s. The uneasy, chromatic motion and the September 1919 issue of the magazine, concert, at church, in the salon, or at a occasional impressionistic chords in the Marcus F. Slayter composed “Shrapnel massed community event.10 accompaniment paint the scene and mood, Blues” while he served as a sergeant in the An equally serious, but more intimate while the vocal line uses a simple, almost trenches of France.13 The song conveys an tone, is found in Josef Hofmann’s setting of recitative style (See Example 3). insider’s view of the trenches with sinister

42 The Bulletin for the Society for American Music • Vol. XXVI, No. 2/3 You know you went o’er the top and with humor. Slayter had appeared as a comedian, a happy shout Armistice. In both September and singer, and actor in many shows and revues November 1919, the Half-Century Magazine in Harlem, on Broadway, and on touring You had the shrapnel blues on your mind included a welcome home song by Porter circuits. It is impossible to know whether And that’s the reason I scream we broke the P. Grainger, “When Our Brown Skin’ Soldier Hindenburg line. he or his collaborator, Marion Lee Bell was Boys Come Home From War.” The responsible for the lyrics or for the bluesy Although “Shrapnel Blues” could be consid- Broadway style and ragged rhythms are harmonies and ragged rhythm in this ered an anti-war song, the comic elements vividly demonstrated in the chorus of this number, but the tune is catchy, and the most certainly helped soldiers deal with the lively march, excerpted in Example 6. words are clever. There can be no doubt tensions of war. Although Half-Century Grainger was a familiar songwriter, that the tune and the words were composed Magazine took a strong stance in favor of pianist, and actor in many Broadway and separately, as the text has been juggled into the war, and urged African-Americans to Harlem shows, often working with James P. Johnson and J. Rosamond Johnson, and he collaborated in recordings with Fats Waller and other early jazz greats. Grainger’s homecoming song was performed by Dad Berry’s 100-piece band in Chicago to welcome back the Eighth Illinois National Guard, an all-colored regiment known as the Black Devils.15 The words of the first verse are unquestioning in their patriotism Example 4. Marcus F. Slayter and Marion Lee Bell, “Shrapnel Blues,” measures 15–20. and pride, but the second verse may refer to the inequalities suffered by the African American soldiers in service: Let’s go down to the station, people, Our boys come home today With great honors won In a grand and noble fray, Do join us! There’ll be great politicians waiting, Taxis all in a row. See Old Glory! Example 5. “Shrapnel Blues,” measures 25–28. Waving as down the streets they go.

14 Boys born of a great fighting nation, place with some difficulty to fit the melody. “Do Your Bit,” fewer than 20% of black Fought with vict’ry in mind As in many songs of the era, the effort to American soldiers in Europe served in actual Wanted nothing other than freedom of rhyme has resulted in clumsy syntax, espe- combat. Most were assigned as laborers mankind. cially in the first verse: such as stevedores, in construction gangs, That’s justice, They stood Back of the President If you should ever go on the Soissons front, in road and railroad repair, and grave And fought ‘till ordered you’re through! In the trenches where all the men wished digging. Meet our heroes! for bunks, A final flurry of songs celebrated the What’s now more loyal we can do? You will notice if you stop and listen return of American troops after the continued on page 44 On this front our boys sure raise the dicken One night while in dugout number three A quartette was singing with glee When a shrapnel struck the door, They thought the fun was o’er But now they’ve got the latest craze. The awkward effect is only multiplied when the words are forced into a preconceived melody, as shown in Example 4. Fortunately the chorus is more straightforward, and the keyboard rendering of a shell bursting provides a comic touch of word painting (See Example 5): Chorus: For when the shells begin to fall all around And you hear the cannon sound, If the men around you fall and You hear your partners call, That’s the shrapnel blues.

If a Frenchman should pass your post Example 6. Porter P. Grainger, “When Our Brown Skin’ Soldier Boys Come Home From War,” Crying alley toot sweet mit now [sic] measures 67–74.

The Bulletin for the Society for American Music • Vol. XXVI, No. 2/3 43 “Voices” continued from page 43 Notes “Hoboken” continued from page 36 1. Edward Bok, The Americanization of Chorus: Edward Bok; the autobiography of a Dutch boy Despite other changes in style and perfor- fifty years after (New York: C. Scribners Sons, mance, this essential core remains. O! Won’t they look swell 1920), 387-403. As down the street they’re marching? 2. In 1813, Port Folio included two naval Laurie Kay Sommers has a PhD in folklore Who here can tell songs by Jacob Eckhard: “Rise, Columbia and ethnomusicology with a specialization What each hero’s been through? Brave and Free,” and “Pillar of Glory.” “Yankee Say can’t you see Thunders,” to the tune of “Ye gentlemen of in folk and ethnic music in the United States. Their smiles of glee England,” by Dr. Callcot, appeared in In addition to developing folklife festivals, As they think of grand receptions Polyanthos in 1812. The Portico published exhibitions, radio programs, and curriculum That soon will be? “The Sailor’s Grave” by C. Meineke in June materials, she has published on Latinos in the 1817. American Periodicals 1800 –1850 [APS Just hearing that band U.S. and on regional music traditions such Of all those fine musicians II] (Ann Arbor, Mich.: University Microfilms My it’s so grand, International, 1979). as Beaver Island House Party (1996). She How can we but adore? 3. Godey’s Lady’s Book and Peterson’s currently serves as founding director of the Our hearts are beating Magazine are available in APS II. Musical South Georgia Folklife Project at Valdosta State For the first cordial meeting numbers from these periodicals by Jupiter University. When Our Brown Skin’ Soldier Boys Zeus Hesser, Hart Pease Danks, George Felix Come Home From War. Benkert, Septimus Winner, C. Archer, and T. E. Notes Perkins were used to illustrate my paper, 1. Thanks to David Lee and Johnny Lee who “Reflections of the Civil War in American commented on earlier versions of this paper. The words, “Wanted nothing other than Magazine Music,” presented at the 1991 Research for this paper was conducted under meeting of the Sonneck Society in Hampton, freedom of mankind,/ That’s justice,” speak the auspices of The Okefenokee Traditional with irony to the lack of racial equality and Virginia. Music Survey, a grant project of the South justice in American life for black citizens. 4. Les Cleveland, Dark Laughter War in Song Georgia Folklife Project, College of the Arts, and Popular Culture (Westport, Conn. and Valdosta State University, funded by the Lila- Grainger’s song embodies the mixed feel- London: Praeger, 1994), 18. Wallace Reader’s Digest Community Folklife ings of black Americans in 1918: jubilant 5. Frederick G. Vogel, World War I Songs A Program, and with a grant from the National with victory, joyful for the return of the History and Dictionary of Popular American Endowment for the Arts Folk and Traditional soldiers, but also aware of the inequities Patriotic Tunes, with Over 300 Complete Lyrics Arts Infrastructure Initiative back home. (Jefferson, North Carolina, and London: 2. Wayne Murphree, Hoboken in Seattle, McFarland, 1995), ix. produced by Wayne Murphree Enterprises The conclusion of World War I marked a (25735 Alabama Hwy. 71, Flat Rock, AL 35966; 6. Ibid., 7. coming of age, as the attitudes of Americans 256-632-2474), 21 February 1998, evolved from simplistic patriotism to ques- 7. Judith Ann Mollere, “Music as a videocassette. Propaganda and Morale Factor in United States 3. David I. Lee, interview with Laurie tioning the recent war and the enormous Participation in World War I (1917-1918),” Sommers, 15 February 1997, Hoboken, cost of its brutal methods. These attitudes Master’s thesis, Tulane University, 1977. Georgia. are apparent in musical selections 8. Vogel, 62. 4. D. “Johnny” Lee, electronic mail composed specifically for publication in 9. Outlook 119 (May 8, 1918): 63. correspondence with Laurie Sommers, 14 1918-19 in the popular periodical press. 10. William K. Kearns, Horatio Parker, 1863- October 1999. These magazine songs provide a microcosm 1919 his life, music, and ideas (Metuchen, 5. Buell Cobb Jr., The Sacred Harp of American feelings at war’s end: hope, New Jersey: Scarecrow Press, 1990), 72. (University of Georgia Press, 1978). determination, patriotic pride, ironic humor, 11. Ladies’ Home Journal 36 (Oct. 1919): 6. David I. Lee, electronic mail anxiety, pain, and disillusionment. From 30–31. correspondence with Laurie Sommers, 12 anthem and art song to vaudeville song and 12. The Half-Century Magazine is available October 1999. jazz march, the musical genres also cover a in reprint in Negro Periodicals in the United 7. David I. Lee, 1997. States, 1840–1860 (New York: Negro 8. Ibid. range of cultural life in America. World War Universities Press, 1969). This magazine, with I songs in the periodical press were initially the motto “A Colored Monthly for the Business 9. Keith Willard, notes for Sacred Harp intended to rally patriotic feelings, but then Man and the Home Maker,” contained news Hoboken, Georgia, 1996, independently and editorials on topical race issues, short produced by Keith Willard, Rodney Willard, mirrored a coming of age as Americans stories, and many features about lifestyle and and David Lee, 1999, Compact Disk. began to question the cost of modern war. fashion. In addition to “Shrapnel Blues” and 10. D. “Johnny” Lee. “When Our Brown Skin’ Soldier Boys Come American victory notwithstanding, the 11. D. “Johnny” Lee. underlying uncertainty found alongside Home From War,” Porter Grainger’s piano solo, “The ‘Shim-me King’s’ Blues, Dedicated to 12. By the time I first interviewed David and patriotism in these magazine songs suggest ‘Boots’ King,” was published in October 1919. Clarke in winter of 1997, they had become quite sanguine about who they were and what the darker, private doubts left by the war to 13. Advertisement by Griffin Music Company made their tradition different: I was treated to end all wars. in Half-Century Magazine 7 (September, the most articulate, reflective, and eloquent 1919), 21. first interview I have ever recorded. Bonny Hough Miller serves on the faculty 14. Half-Century Magazine 3 (August, 1917): 13. David I. Lee, 1997. at Southeastern Louisiana University. Since 1, 12. 14. Wayne Murphree. 1983 she has presented numerous papers, 15. Advertisement by Griffin Music Company lecture-recitals, and articles on topics drawn in Half-Century Magazine 7 (September, 1919), 21. from music published in the popular periodical press. This research originated in an NEH seminar at the Arnold Schoenberg Institute.

44 The Bulletin for the Society for American Music • Vol. XXVI, No. 2/3 Steel Away: The Sacred Steel Guitar Tradition of African-American House of God Churches in South Carolina

Robert L. Stone and techniques. Today, with a solid core of African-American vocal performance prac- Gainesville, Florida veteran players and a healthy crop of up- tice. Eason traveled widely playing the steel and-coming younger musicians, the tradi- guitar and singing, first touring the eastern The plaintive sound—and the charac- tion is probably stronger than ever. states from New York to Miami with Bishop teristic glissandi—of the steel guitar is usu- The history of this distinctive tradition is J. R. Lockley’s Gospel Feast Party, then later ally identified with Country and Western or a story of closely connected musicians by himself to perform street corner music Hawaiian popular music.1 Pedal-steel gui- within the church that starts with the influ- ministries. He recorded a total of eighteen tars are routinely found in contemporary ence of the singing steel guitar sound in sides for the Queen, Aladdin, and Regent white country gospel groups and church Hawaiian music, popular in the continen- labels in the 1940s and 50s.5 Today he is worship “praise bands.” Yet the instrument tal United States from the 1910s until World considered a living legend among House is unheard of in most African-American wor- War II. During that period, Hawaiian music of God congregations. ship services, with the striking exception of schools proliferated throughout the coun- One of Willie Eason’s disciples was a single tradition: the House of God2 church- try and musicians who played various Henry Nelson, born in Ocala, Florida in es, where the steel guitar as lead instrument 1930. His father, Bishop W. L. Nelson (1895- has reigned supreme for decades. With thir- 1973), was a prominent figure in the House ty churches in South Carolina, this denom- of God denomination and responsible for ination and its steel guitar music maintains the dioceses of South Carolina, North a very strong presence. Carolina, the east coast of Florida, The House of God is a Holiness- Chattanooga, and the island of Jamaica. Pentecostal sect, whose churches are Bishop Nelson served as pastor in Ocala, known for celebratory, music-driven Florida. Henry’s oldest sister, Alyce, became worship services during which the presence Willie Eason’s first wife. Some time around of the Holy Spirit is manifested by dancing 1940, upon hearing Eason and his “talking and involuntary body movements. House guitar” for the first time, young Henry was of God ministers cite Psalms 150:4, “praise amazed. “I wanted to do everything I saw,” him with stringed instruments,” and 149:3, he recalled. Bishop Nelson bought his son “Let them praise his name in the dance,” as a steel guitar and, laying his hands on scriptural support for the music and the Henry’s, told the youngster that he would accompanying holy dancing. House of God learn to play if he kept his music “within the worship services are driven by music played anointing.” Soon young Henry was making by an ensemble led by a steel guitarist and music in his father’s church. “I don’t even usually including an electric bass, drums, remember rehearsing at home,” he said, keyboard, and rhythm guitar as well. The Figure 1. Henry Nelson. adding what is now a shared belief among steel guitarist works closely with the minis- these musicians: “It was just a gift from ter in playing a very active, important genres of popular music heard and were God.”6 support role in this worship tradition. In influenced by touring acts, records, and Local House of God congregations are addition to belting out driving “praise” or radio broadcasts of Hawaiian music. One typically small, between twenty and forty “shout” music for congregational singing, of the first House of God musicians to use members, but large assemblies and revivals the steel guitarist provides dramatic empha- the steel guitar, Troman Eason (ca. 1895- could number in the high hundreds. As a sis during sermons and testimonies, accom- 1971), took lessons in Philadelphia, young man, Henry served as driver and panies solo or small group singers, plays Pennsylvania, in the mid-1930s from a musician for Bishop Nelson as father and syncopated music for offertory processions, Hawaiian whom Eason’s surviving brother, son traveled throughout the south to play and even aids in healing services. Willie (b.1921), remembers as “Jack.”3 This for these gatherings as well as at the annual House of God steel guitar music is teacher may have been Jack Kahanalopua, General Assembly in Nashville, at which the distinctly African-American, much of it a professional steel guitarist whose brother, attendance might be over 2,000. In House sounding more like raw, driving blues than Jimmy, operated a Hawaiian music studio of God gatherings, the Holy Spirit is most the sweet strains typical of commercial in Philadelphia at that time.4 strongly felt by the largest numbers; as a Country and Western settings for the instru- Troman and Willie Eason brought the matter of fact, the relationship between the ment. The tradition has now been passed electric steel guitar to House of God ser- presence of the Holy Ghost and congrega- down through families for four generations vices in the late 1930s. Later, younger broth- tion size seems to be almost exponential. and, over the years, these steel guitarists er Henry “Big” Eason (1926-1970) also Playing steel guitar with Bishop Nelson in have developed a distinct repertoire of func- became a steel guitarist. While Troman these larger settings gave Henry an espe- tional music for “moving the service.” Along played in the traditional Hawaiian style, cially influential position, as he could the way, they have worked out their own Willie, who never took lessons, developed become associated with the most spirited tunings, equipment setups, playing styles a voice-like single string style imitative of continued on page 46

The Bulletin for the Society for American Music • Vol. XXVI, No. 2/3 45 “Steel Away” continued from page 45 family on the outskirts of Blythewood, just like that. We’d play just like we speak services, held in the most prestigious north of Columbia, South Carolina, where broken English, we’d play broken music. settings, and participated in by the greatest he serves as pastor at the House of God in Then he had another brother Henry. When numbers of people. Nelson recalled an nearby Cayce. As an early pedal-steel I first started, the first [steel] guitar that I had especially spirited service he played for in guitarist in the House of God, he influenced was a old National [electric] Henry sold my Pamplico (near Florence), South Carolina. and mentored Chuck Campbell, more than mother for $15.”11 When asked how he “One church, the people would be stand- 20 years his junior, who went on to become learned to play, Coffee responded, “I ing. That was the only room in the church one of the most esteemed and innovative watched Willie all them years and then . . . to shout. And when they got happy . . . the pedal-steel guitarists in the church. Coffee you know my father was musically inclined, church sink in the ground with so many so it wasn’t really a hard thing to do.” Coffee people. All the pillars went down. They had has two sons who are also steel guitarists: to jack it back up. That place would get so Acorne, Jr., known as Flip, who lives in fired up over the burning of God, it was Philadelphia where he plays regularly for deafening in there!”7 A spirited and innov- church services, and twelve-year-old ative musician, Nelson took full advantage Lawrence, who played steel with youthful of these opportunities, developing what exuberance in the family music room as the some described as a “Liberace” persona. He writer photographed his father. “You warm was a sharp dresser and made it a habit to him up and he’ll go ahead like nobody’s charm the congregation—especially older business,” Coffee promised. women—with personal greetings before he While living in Philadelphia, Coffee took sat down at his instrument to play.8 up the pedal-steel guitar and became friends Henry Nelson developed a style of with white country steel guitarist Winnie “praise” or “shout” music, characterized by Winston, author of one of the first instruc- voice-like lines played on the treble and Figure 2. James Summersett of Linville, Georgia. tional books for the instrument. From bass strings punctuated by a variety of Winston he learned the right-hand “block- driving, rhythmic “frams,” or strums, under was born in 1936 in Philadelphia, ing” (muting) technique that country play- which the band played without chord Pennsylvania, to House of God elders ers developed so they could pick faster and changes.9 His instructive remark to blind Charles and Melissa Coffee. He moved to cleaner. Coffee, in turn, aided young Chuck keyboardist Francine Jones as they opened South Carolina in 1973, back to Philadelphia Campbell. “I helped Chuck, taught him the a packed-house service in Ocala on 26 in 1978, and returned to South Carolina in block, taught him some notes.” In general, December 1993 was typical: “Get in E-flat 1995. He says that sometime in the 1970s, House of God steel guitarists do not use the and stay there.” His praise music became he was the first House of God musician to standardized tunings and pedal setups that the foundation of what is accepted by many play steel guitar in Jamaica. are the norm among country and western as true “House of God music”10 and his Coffee recalled hearing Willie Eason and musicians. Typically, they arrive at their signature riffs and rhythms are quoted at his brothers perform in Philadelphia. “I tunings as the result of dreams, aural visions, virtually every House of God worship wanted to be like him when I was little. His and trial and error. Coffee recollects work- service. Nelson’s manner of playing ing out some of the solutions with improvised accompaniment and solos Campbell. “Me and Chuck stayed for hymns made extensive use of Me and Chuck stayed up up until six, seven o’clock in the simultaneously manipulating the until six, seven o’clock in the morning morning trying to get pedals the volume and tone controls of his guitar way we wanted them. Sometimes while plucking the strings to soften trying to get pedals the way we’d be getting up the next morn- the timbre’s attack and make the notes we wanted them. Sometimes we’d be ing and we’d be up all night. “swell” to achieve an uncanny and Sometimes he’d come over to the highly effective voice-like quality. getting up the next morning house and stay three, four days and Nelson served as a steel guitarist in the we’d get up playing and go to bed House of God for more than 50 years and we’d be up all night. playing.”12 Now in his sixties and until a series of strokes beginning in Sometimes he’d come over preaching more than playing steel, the spring of 1994 curtailed his play- Coffee offers his thoughts on ing. The extent of his influence on to the house and stay three, four days competitiveness among church House of God steel guitar music and we’d get up playing musicians. “It’s not the idea of play- cannot be overstated. He set the domi- ing as good as another man, ‘cause nant style for praise music and influ- and go to bed playing. everybody who plays, plays good. enced the manner in which hymns are It’s the idea of a man playing more —Elder Acorne Coffee played by many. His influence is fancier than you. But on any given strongly manifested in the playing of day, if you are playing in the church South Carolina steel guitarists. brother, Troman, would play, too; and for God’s service, the Lord come in and Another early House of God guitarist, Troman played by notes. We’d play by ear. everybody will forgive everybody else while Elder Acorne Coffee, now lives with his Troman played like these guys when these they’re shouting off your music. So it don’t South Carolina-born wife, Barbara, and their hillbillies play. Troman played church music make a difference.”13

46 The Bulletin for the Society for American Music • Vol. XXVI, No. 2/3 One of the newer generation of steel was some lady. They kept looking and they bers fondly when he played steel guitar and players, James Summersett, was born in kept hearing it, but they never saw nobody his younger brother Gary (b. 1970) played Vidalia, Georgia in 1946. His parents were doing it. Then they finally watched my drums at the House of God in the Bronx his Elder Mary Summersett, pastor of the House fingers and they knew where it was coming mother pastored. of God in Vidalia, and Deacon Walter from.”15 Hampton moved back to South Carolina Summersett. He moved to Charleston in James Harrell Hampton was born in in 1989. Today he is the steel guitarist at the 1966. He recalls as a boy hearing steel Ridgeville, South Carolina in 1958 and House of God in St. Stephens, about 40 guitarists play at the annual state assembly resides there today. He has been involved miles northwest of Ridgeville, where he also in Macon. When he was fifteen, he saw a with the House of God denomination his trains youngsters to play drums, guitar, steel young lady playing a steel guitar in church. entire life. His mother, Janet Williams, is an guitar, and bass. Although he used to travel “I looked at her and it got to me. I said to elder (minister) and he is a deacon. He frequently to play for special services when myself, I said, ‘If she can do it, I can do it.’ remembers sitting on the front porch listen- he lived in New York, he does so only occa- And I just kept that in my mind. We talked ing to his mother play the “lead,” or stan- sionally now. He sees the electric steel guitar our mother into getting us a used one.” dard electric guitar, when he was three.16 as especially suitable for spirited worship James first learned by watching his cousin, When he was 12, his family moved to New services. “That steel is one mean instrument, Junior Willis, and later James’ older brother, York. “Actually, I wanted to learn how to I’d say. There’s nothing like it. In most John Henry. “My brother learned to play, play [steel] ever since I was about seven, but churches the lead instrument is the organ, and I picked up behind him. My younger I never could get aholt of a guitar,” he but in the House of God church, it’s the steel brother [Isaiah] picked up behind me. And recalled. “I always wanted to play one of because of the way it sounds. It sounds like we all just stayed at it. Mother kept us in them, you know. I said to myself, ‘I’m going a human voice, and it’s got a lot of power church all the time, so that’s the way I to learn how to play one of these even if it behind it. It speaks out.”19 learned.”14 Isaiah, who now lives in Linville kills me.’ That’s how bad I wanted to play. Nelson was not the only influence on (near Vidalia), Georgia, still plays. When I came to New York, that was the one Hampton’s steel playing while he lived in James usually performs solo, providing thing I actually begged my mother to get New York. Asked if he knew Rochester steel his own rhythmic accompaniment to sensi- me, was a steel guitar. She got it for my guitarist Chuck Campbell, Hampton tively rendered melody lines. In the past, twelfth birthday.” Ella “B.B.” Barber gave responded: “That’s who I was hanging Isaiah sometimes provided accompaniment him his first lessons in New York City. around with a whole lot when I was up by loosening the lower strings on his steel Hampton says Barber is about 85 or older there.” In about 1985, Titus Mims (who has guitar to provide bass accompaniment, a now and still plays steel. While living in since left the House of God) of New Jersey technique still practiced by some House of New York, he saw and heard Henry Nelson taught Hampton the 8-string E7 tuning God steel guitarists. James cites the gospel Hampton uses to this day. vocal quartet sound as an influence on his Southpaw steel guitarist Anthony Levelle steel guitar playing. Interestingly, he has Fox, another lifetime House of God never attended the annual ten-day General member, was born in Hollyville, South Assembly. Since about the time he gradu- Carolina in 1972. His family includes several ated from high school, Summersett has trav- House of God ministers. His grandmother eled throughout the region, and, on occa- bought him a six-string lap-steel when he sion, as far as Indiana and Florida, to play was 13. Fox learned a few basics from his in various Baptist, Methodist, and other uncle, Jerry Gasden, then developed his churches as well as for House of God musical abilities further by informally services. He has been playing a double- observing other steel guitarists and work- necked lap-steel guitar (with two six-string ing things out on his own. Today he is necks) for about twenty years. He tunes one known as the “state” steel guitarist, the one neck to a major chord and the other to a who plays at the South Carolina state House minor chord. When interviewed, of God assembly and other large, important Summersett could neither state the note gatherings. Like many other House of God names of, nor otherwise describe, his steel guitarists, he plays both lap- and pedal- tunings. He seems to rely totally on his ears steel guitars. Henry Nelson was a major and informally acquired musical abilities. Figure 3. Anthony Levelle Fox of Hollyville, musical influence on Fox. “He is the main Like Henry Nelson, with whom Summersett South Carolina. steel player that has influenced my style on says he has played many times, he operates the six-string (lap-steel). I think he is the the volume control of the guitar while pick- play frequently.17 “He was one of the main greatest. I really admire his style of playing. ing to soften the attack and make the notes players that I looked up to. He is a great That’s what got me to where I am on the swell. inspiration to me. I’m glad he was here to six-string.”20 When playing for congregations outside show us. He wasn’t there in front of us, but Fox’s ten-string, left-handed pedal-steel the House of God, Summersett often gets we were listening. Everybody’s got a part guitar was custom built for him in Nashville, reactions from those not used to the voice- of Henry in them.” Comparing pedal-steel using components from several of the best like sounds he can make with the instru- to lap-steel, Hampton recalls Nelson telling brands. He uses what he terms a “modified ment. “A lot of people are really attracted him, “Everything that big (pedal) guitar can C6” tuning and has seven pedals and five by it. I made it holler and they thought it do, you can do it also.”18 Hampton remem- continued on page 48

The Bulletin for the Society for American Music • Vol. XXVI, No. 2/3 47 “Steel Away” continued from page 47 4. Ralph Kolsiana, telephone interview with South Carolina is rich in the House of Robert Stone, 26 May 1999. Kolsiana studied knee levers ﬁtted to the instrument. He cites God steel guitar tradition. Henry Nelson’s with Jimmy Kahanalopua in Philadelphia in the a number of pedal-steel inﬂuences, includ- influence seems to be especially strong mid-1930s, then played professionally for ing Acorne Coffee. “One thing I learned there. His father’s position as state bishop decades. For a fascinating interview with Kolsiana Ruymar, see Lorene. The Hawaiian from him is clarity,” says Fox. “He’s a very for many years provided opportunities for Steel Guitar and Its Great Hawaiian Musicians. clear steel player.”21 Henry to be heard and seen by great Anaheim Hills, CA: Centerstream Publishing, numbers under the most favorable circum- 1996. stances. Henry’s musical ability, spirituality, 5. See Hays, Cedric J. and Laughton, Robert, and rapport with congregations enabled Gospel Records, 1943-1969: A Black Music The Society Discography (Milford, NH: Big Nickel him to make the most of those opportuni- Publications, U.S. distributor for Record for American Music ties. Although Nelson’s influence was Information Services (England), 1992). Four of is pleased to welcome profound and widespread, each House of Eason’s sides remain unreleased. these new members: God steel guitarist has developed a unique 6. Henry Nelson and Aubrey Ghent, Peggy Balensuela Terre Haute, Indiana voice on the instrument. Now in the hands interview with Sherry DuPree and Robert Stone, 26 November 1993. Scott Ball Collegedale, of a fourth generation of energetic and inno- Tennessee 7. Henry Nelson and Aubrey Ghent, vative young musicians, the electric steel interview. Ryan Bunch Adelphi, Maryland guitar remains the dominant musical force Rebecca Bogart Richmond, California 8. Chuck and Phillip Campbell, interview that drives the spirited worship services of with Robert Stone and Chris Strachwitz, 15 Elizabeth K. Campeau Arlington, Virginia the House of God. March 1998. 22203 9. Most House of God steel guitarists use the Katherine Dacey New York, New York Robert L. Stone is a folklorist who lives in term “fram” rather than “strum.” William Dargan Durham, North Carolina Gainesville, Florida. He has been 10. Chuck and Phillip Campbell, interview. Beverly Diamond Downsview, Ontario, documenting the steel guitar tradition of the 11. Acorne Coffee, interview with Robert Canada House of God since 1992 and has produced Stone, 17 July 1999. Bridget Falconer-Salkeld Maidstone, Kent, a series of five Sacred Steel Guitar CDs for 12. Ibid. England Arhoolie Records. His current projects include 13. Ibid. Gary Feltner Carrollton, Texas directing the Arhoolie Foundation’s Sacred 14. James Summersett, interview with Robert Kara Gardner Palo Alto, California Steel one-hour documentary video (which Stone, 17 July 1999. Daniel Goldmark West Hollywood, California premiered on 18 October 2000 in Berkeley); 15. Ibid. Ruth Inman Chicago, Illinois producing a sixth Arhoolie CD, Live At The 16. To differentiate the instrument from the steel guitar, House of God musicians refer to Timothy Johnson Brooktondale, First Annual Sacred Steel Convention New York (Arhoolie CD 489, March 2001 release); and the standard guitar, whether it is being use to play rhythm or leads, as “lead guitar.” Patrick M. Jones Fredonia, New York producing Music From the Sunshine State, a 17. Henry Nelson moved to New York Bruce C. Kelley Shepherdstown, series of 13 one-hour radio programs for the shortly after graduating high school. Today he West Virginia Florida Folklife Program, which will present lives in Corona, Queens. Rena Kosersky New York, New York a variety of ethnic and vernacular musics. 18. James H. Hampton, interview with Melanie Lowe Nashville, Tennessee Robert Stone, 18 July 1999. Linda Mack Berrien Center, Notes Michigan 1. The steel guitar takes its name from the 19. Ibid. Edward McKennon Tucson, Arizona bar, which is usually made of steel, the player 20. Anthony L. Fox, interviews with Robert uses in the left hand to stop the strings to make Stone, 18 July 1999. Kazuko Miyashita Williamsburg, Virginia notes. The instrument itself may be made from 21. Ibid. Lucy P. Newton Indianapolis, Indiana materials including plastics, wood, and a Nina Perlove Cincinnati, Ohio variety of metals. Pedal-steel guitars employ a Bruce Phillips Lanham, Maryland system of foot pedals and knee levers connected to mechanisms that raise or lower Charles Gower Price Philadelphia, the pitch of selected strings. The term “lap- Pennsylvania steel guitar” is used here to refer to any non- Richard Ripani Nashville, Tennessee pedal electric steel guitar, whether it is placed Patricia Robinson Brevard, in the player’s lap, supported on legs or held North Carolina by a strap. Michael J. Rogan Boston, Massachusetts 2. The full name of the church is the House John Schumann Portland, Oregon of God, Which is the Church of the Living God, the Pillar and Ground of the Truth Without Susan Stillman Manchester, New Hampshire Controversy, Keith Dominion, Inc. For the sake of brevity “House of God” is used here. There Dean Susuki San Leandro, are House of God churches in 26 states as well California as in the Bahamas, Jamaica, and Haiti. For Nancy F. Vogan Sackville, New more information on individuals in the church, Brunswick, Canada see DuPree, Sherry Sherrod and Herbert C. Biographical Dictionary of African-American Institutional Holiness-Pentecostals, 1890-1990. Washington, DC: Middle Atlantic Regional Press, 1989. University of Nevada- Reno Reno, Nevada 3. Willie Eason, interviews with Robert Stone, 16 January and 3 May 1994.

48 The Bulletin for the Society for American Music • Vol. XXVI, No. 2/3 REPORT FROM THE CONFERENCE

Eileen Southern Bestowed During the 1970s Professor Southern Norway. They are professionals who with Lifetime served on both the Council and the Board weave folklore and the oral tradition with Achievement Award of Directors of the American Musicological their personal historical and geographic Society, which elected her an honorary narratives. St. Simon’s Island, Georgia, is The Society for American Music salutes member in 1991. She was a founding not only the place where the original Sea Eileen Jackson Southern, Professor Emerita member of the Sonneck Society (estab- Island Singers were founded, but also the of Music and of Black Studies at Harvard lished 1975), and she served on its Board place where African slaves were brought University, with its Lifetime Achievement of Directors (1986-88) as well as the as property to be auctioned off. Award in appreciation of her devoted Editorial Board of the journal American The Quimbys conjure up before our service to the cause of promoting study of Music (1980-83, 1994-97). eyes episodes from the lives, elements of American Music. In recognizing Professor Southern further blazed new trails in distinctive cultural memory, and musical Southern, the Society honors an African- academia as the first African-American treasures of those early African-Americans. American scholar—not a performer, but a woman tenured in the College of Arts and In their presentations we hear the songs woman with impeccable academic creden- Sciences at Harvard University (1976-86), of comfort, songs of manual labor, and tials as well as a long list of significant and she became the first African-American songs for mutual enjoyment that the Sea historical accomplishments. musicologist, male or female, to be Island Singers’ African ancestors left as a As the first dominant voice within the honored in a very public and permanent legacy to our nation. Now, many genera- academy to reconstruct and redefine the way with a festschrift, New Perspectives in tions later, these songs often are designated music history of black America, Professor Music: Essays in Honor of Eileen Southern traditional American songs in song Southern vigorously challenged the musi- (1992), in recognition of her distinguished anthologies. They are taught by music cological community, both at home and service to the discipline. teachers throughout the country as part of abroad, to rethink old myths and stereo- As we enter the twenty-first century, it the national repertory of songs that every types about black America’s contributions is fitting that the Society for American American child knows. to American music, and she helped trans- Music salutes one of its founding fore- The Sea Island Singers remind us that form the field of musicology into a more mothers—a woman who has helped to the genesis of the songs that they sing is inclusive discipline in the late twentieth revolutionize and transform how we teach equally important as a part of our national century. and research American music within the heritage as is the beauty of their melodies. Working quietly, in a measured but academy. Songs then become the gateway to under- deliberate manner, she championed the —Homer Rudolf standing the past and the future alike. intellectual viability and legitimacy of University of Richmond This Honorary Membership is given to research in all areas of African-American the Sea Island Singers in recognition of the music through her writings and other activ- work that they have done in keeping alive ities. Her numerous articles in scholarly Georgia Sea Island Singers the unbroken musical tradition from the journals and reference works, as well as Named Honorary time of slavery through the twenty-first her full-length tomes, reached and influ- Members 2000 century. Their efforts have inspired and enced thousands of readers. Her book The informed generations of Americans about Music of Black Americans (1971), now in Through the work of Doug and Frankie the riches of their African musical heritage. its third edition, has endured as a model Quimby, people young and old in the We pay homage to their work and their of scholarly excellence in the field of United States and around the world have legacy to American music. American music history. Her Biographical come to understand the importance of the —Homer Rudolf Dictionary of African and African African-American contribution to American University of Richmond American Musicians (1982) has served as folklore and culture. Songs, games, stories, a prototype for other comprehensive refer- and epic narratives handed down from ences that focus upon musicians from the generation to generation come to life Distinguished Service Citation African diaspora. Her Black Perspectives through this husband and wife team, Presented to Deane Root in Music, the journal she co-founded in known as the Georgia Sea Island Singers. 1973 with her husband Joseph Southern They continue the tradition when other If a well-lived life is one that plays out and edited through 1991, remained for family members join them on occasion. the idealistic fantasies of youth, then Deane many years the only scholarly venue that Since their participation in the original Root’s is exemplary, for he has not only welcomed open submissions and Sea Island Singers led by Bessie Jones over seen all his dreams come to pass, he has published articles devoted exclusively to thirty years ago, the Quimbys have broad- been a central player in them. He has the study of African and African-American ened the scope of their impact from folk played an important role in establishing a Music. festivals to Carnegie Hall, from classrooms national society devoted to the study of to the Olympic city of Lillehammer, American music and the publication of a

continued on page 50

The Bulletin for the Society for American Music • Vol. XXVI, No. 2/3 49 His service to us in unsurpassed. He A Conference in Paradise: was our president during years of critical Sam in Trinidad, 23-27 May 2001 development, from 1989 to 1993, and was local arrangements chair for the pivotal Irresistible music, rain forests, coral reefs, clear blue water, and white sand await 1987 meeting. He has given important us as we land in a tropical paradise and are whisked away by native taxi drivers who papers at our conferences, chaired numer- will seem like family as they proudly point out the beauty of their island while taking ous sessions, served on and chaired many us to the “upside down” hotel. Built on the side of a mountain and overlooking Port committees, and has just completed his of Spain, the Trinidad Hilton is the premier hotel on the island. There we will enter stint as our delegate to the American the special world of Caribbean culture. Our 27th annual conference promises all this Council of Learned Societies (our member- and more as we meet concurrently with the Center for Black Music Research. ship being largely at his initiative). Recently Collaborative programming will provide presentations and paper sessions open he has been a moving force behind “Voices to all. Across Time,” a project that promises to integrate the study of our music into In Trinidad we will have entered a country of two equally beautiful and totally national K-12 curricula. It is entirely fitting different islands. Slow moving Tobago, just twenty minutes away by air, is one of the that we pause now to honor one of our Caribbean’s best-kept secrets. We will be offered an extended foray there in which very best and most valuable members. we will be treated to African-derived music with unique performance practices and Dean’s trajectory through the cosmos of to a catered dinner on one of Tobago’s beautiful beaches as well. American music reminds us not only of Other special activities will include several tour options before, during, and after how far we have come, but also of what’s the conference as well as native musical events built into the program itself. ahead, for Deane is yet a young star and Opportunities to hear local steel bands will not be lacking, and there will be visits to he has yet to reach his zenith. If the past pan yards where the drums are made. is any guide at all, we would do well to keep our stars hitched to his. The Trinidad Hilton has graciously extended conference rates for five days before —Homer Rudolf and after the conference. Major air carriers to Port of Spain are American Airlines, University of Richmond the official carrier for the Society for American Music, and BWIA, which is expected to be the official carrier for the Center for Black Music Research. Detailed information on discounts will be provided in the next bulletin of each society as well as on Irving Lowens Award for the registration form, which will be mailed in the fall. You are encouraged to make Articles flight arrangements early, to assure that seats will be available on your preferred dates. The Society awarded the Irving Lowens The special fellowship so characteristic of SAM conferences will surely be Award for Articles published in 1998 to augmented as we all enjoy this tropical paradise together. Plan now to join us in Carol Hess for her scholarly work in “John Trinidad. Philip Sousa’s El Capitan: Political Appropriation and the Spanish-American For more information on the conference, housing, and transportation please go War,” published in American Music, to http://american-music.org/confers.htm volume16, Spring 1998. In this provocative article of music, politics and war, Hess takes on the daunting task of exploring the “Conference Report” continued from page 49 Dyen, Don Krummel, and Jean Geil in relationship between music and national respected journal in American music—all putting together the indispensable politics, nationalistic sentiments, and the the while encouraging the teaching of our Resources in American Music History. After making of war at an important time in the nation’s music, which has now become a publication Deane worked with museums history of the United States. While broad common occurrence. and public institutions in Florida on inte- in scope and relevance, the article is at the Deane went from a graduate career at grating American music into their same time compact and tightly focused. It the University of Illinois to some teaching programs and missions. is especially gratifying and instructive to at the University of Wisconsin, then on to In 1982 he accepted the Curatorship of see someone writing with such introspec- an editing position in London at Grove’s the Stephen Foster Memorial at the tive and critical self-awareness about the Dictionary of Music and Musicians. There, University of Pittsburgh, and has since history of her country. Every nation has its he helped persuade Stanley Sadie that added Professor of Musicology to his dark moments that should be acknowl- Groves should include significantly more collection of titles. At the Stephen Foster edged and this essay can serve as a model articles in such esoteric categories as Memorial he built an excellent collection for exploring the ways in which the arts American music and popular music, and into a world-class research archive, and can be used to manipulate the imagina- thus laid some of the groundwork for the under his tutelage, the University of tions of large numbers of people in achiev- 1986 publication of the New Grove Pittsburgh has come to be right at the ing what are sometimes destructive goals. Dictionary of American Music. After epicenter of activity in American music, as Hess traces the early history of the Groves he returned to his alma mater currently manifested by the removal of our operetta El Capitan, characterized by the where he worked with his wife, Doris Society offices to Pitt. author as “a buffa portrayal of Spanish

50 The Bulletin for the Society for American Music • Vol. XXVI, No. 2/3 administration in colonial Peru,” focusing further the Society for American Music’s on the initial success of the work in New mission and goals. Deadline for applica- Gospel and Sacred Music and York and its subsequent coast-to-coast tions is 15 December 2000. For application Popular Music Interest Groups tours. Hess carefully documents Sousa’s guidelines, contact Dr. Mary Jane Corry, 8 fame and importance as she proposes Joalyn Road, New Paltz, NY 12561 On opening night of the Charleston reasons for the great success of the ([email protected]). meeting this year, a special group of South operetta, examining the context of the Carolina church musicians transformed the work while considering all the various Interest Group Council Mills House ballroom into a House of God, aspects of the work itself: text, music, and Keith Dominion meeting hall during a iconography. In her analysis of the score, moving musical experience. A meeting of the Interest Group Hess connects the text with the political Performing their music outside of their Council, comprised of chairs of each of the climate of the time and reveals how the church and denominational context for the Society for American Music interest groups, music was able to arouse and intensify first time, lap-steel guitarist James was held in Charleston on Saturday, 4 feelings of patriotism and nationalism in Summersett, lap- and pedal-steel guitarist March, during the annual conference of the audiences that heard it. Hess skillfully Anthony Fox, and members of the Fox the Society. interweaves a history of the political rela- family shared with the an appreciative SAM Outgoing Interest Group Coordinator tions between Spain and the United States audience the driving energy and unique, Jean Geil introduced a number of new that resulted in war, as she explains the haunting timbres of worship in their chairs, and welcomed Mariana Whitmer, mood of the public at the time of the African-American Holiness-Pentecostal who is assuming the duties of SAM premiere of El Capitan in Boston in 1896 denomination. Executive Director as of 1 July. She and later in New York, where a new Folklorist Robert L. Stone, who reminded Council members of the need production opened only one week after presented an overview of the House of to adhere to the schedule for re-validation the sinking of the battleship Maine in 1898. God sacred steel guitar tradition at an established a year ago, while noting that The author shows how the music, text, and earlier session, arranged for these practi- interest groups must meet at least once production itself came to symbolize the tioners of a style dating from the 1930s to every two years in order to remain active. opposing forces, allowing audiences to recreate their use of music for worship at (It is anticipated, however, that the enact the conflict as a part of the theatri- the conference. Trinidad Conference may be considered cal experience. She concludes with a Stone, besides being a fine scholar who as an exception to the two-year rule). synopsis of the troubled era of expan- has spent several years researching the Larry Worster encouraged Council sionism ushered n by the subsequent tradition and has interviewed the leading members to submit reports for publication events of the Spanish-American War. players, is also a producer with Arhoolie in the summer Bulletin, and requested that By applying the tools and theories of Productions and has co-produced record- a conscientious effort be made to insure historiography to a significant and timely ings of Sacred Steel musicians on that label that the Interest Group Council listserv musical composition, the author skillfully (see discs 461 and 472). names and addresses remain current illuminates a major historical event and Among the interesting elements of this throughout the year. explores the many subtle relationships tradition, born on the 1930s during the U.S. Executive Director Kate Keller between art and politics. Scholars of craze for the Hawaiian guitar sound, are presented a summary of budgetary consid- American history and American music will its functional applications in worship to erations relating to the activities of inter- find this article stimulating and instructive. processionals, healing prayers, and offer- est groups. Unfortunately, the current —Wesley Berg and George Keck tory marches as well as the more familiar budget cannot support increases for inter- “shout” praise songs. According to Stone, est groups this year, other than initial allot- Holiness musicians were first attracted to Non-Print Subvention Award ments for two new groups (Students; 18th- the instrument for its capability to imitate Century Music). a solo lead singer—particularly a female President Rae Linda Brown congratu- The Society awarded its fifth annual voice—improvising expressively in lated Council members on the variety and Non-Print Publication subvention to The worship. Stone explained that players quality of their sessions, and noted that Farmer’s Museum of Cooperstown, NY, for consider their abilities as a gift from God: interest groups provide an important focus a recording by the Susquehanna Singing a gift that often leads them to discover indi- for programming as well as a significant School. The title of the recording is: vidualized “inspired” tunings for their source of productive energy for the Society “Winter’s Song: Seasonal and Holiday instruments, and one which they feel as a whole. Favorites from Candlelight Evening.” compelled to give back to God and to His Geil thanked all those present for their Applications are now open for next year. people—no musicians in he church are enthusiasm and hard work over the past Applications for financial assistance to facil- paid. several years during her tenure as Interest itate the publication of non-print material As attendees trickled into the ballroom Group Coordinator. Judy Tsou has concerning American music may be made from dinner, Summersett and the Fox assumed responsibility for this position, as by performers, editors, project directors, family—Anthony, his wife Precious, and of the close of the Charleston conference. or producers. “Non-Print Publications” may brothers Carlos (keyboards) and Leonard —Jean Geil be video cassettes, recordings, CD-ROMS, (drums)—prepared their instruments and University of Illinois Music Library radio programs, or other projects that amplifiers. Each member of the Fox family

continued on page 52

The Bulletin for the Society for American Music • Vol. XXVI, No. 2/3 51 “Conference Report” continued from page 51 followed by James’s lap-steel take on profoundly ambiguous, and the listserv separately asked me what kind of music I “What A Friend We Have In Jesus” and discussions were copious and wide-rang- thought the audience would “be into,” and songs by Precious including “May The ing. Matters simple and direct (“can some- I told each musician the same thing: we Words of My Tongue” and “Thank You, one bring a music stand?”) alternated with hoped to be transported into the middle Lord.” dilemmas impossible to pin down (the of one of their services, to see and hear The musicians played “Saints” as an incompleteness of all musical notation.) their worship for ourselves. And that is just example of an offertory march, then closed Our rehearsal the night before the what these five musicians did! their service with “How Great Thou Art” performance served at least two purposes. “We are here because we love Jesus,” and a song they later identified only by the The performers got a “sneak preview” and said Precious in introduction, “and we pray name “Father.” discussed how to deal with our sponta- that you will love Jesus, too—and say a As the subdued steels brought a neous reactions. We were also able to little prayer for us, too, because we are a renewed calm into the room, Precious remove potentially dangerous obstacles in little bit nervous.” She then shared a slow, ended this unforgettable evening remind- the room and in combinations of individ- moving reading of “We Shall Behold Him,” ing us of the source and inspiration of their ual parts. No one would have wanted to accompanied by the four players. music, as she gave a short testimony of her be in the path of Amy Beal’s sprinting An instrumental rendition of “Precious personal faith in Christ and issued an invi- trajectory. Memories” followed, then Precious sang tation to anyone who “does not know The performance itself was a stunning her stunning version of “Amazing Grace,” Jesus” to speak with them afterwards. combination of personae, from David in which her powerful vocal colors and The music’s drama was heightened by Patterson’s emblematic table of props to spectacular range were enhanced by her the knowledge that we were the first audi- Carol Baron and Ann Sears, facing the unassuming candor and gracious rapport ence outside their church ever to hear this audience front and center, but doing with her audience. group live. They not only played for us, distinctly less than anyone else, including Anthony switched to bass to accompany they opened their hearts and gave part of most audience members. Carol and Ann James Summersett’s performance of themselves. Many of us left overwhelmed were joined in front by Catherine Smith, “Blessed Assurance,” after which Anthony by the music and the privilege of the occa- who was somewhat more active, but so and James presented a steel guitar duet sion. It would have been hard to be there truculent that the three of them appeared based on “What A Friend We Have In that night and not to have “had church.” to be refugees from an absurdist drama. Jesus” but soaring freely into uncharted This special presentation was jointly While Amy created mischief in the back of musical territory. sponsored and underwritten by the Gospel the room, Denise Von Glahn remained an By this time, a small group of confer- and Sacred Music Interest Group (Roxanne elegant presence in one corner, stretching, encees had stationed themselves towards Reed and Esther Rothenbusch, co-chairs) singing, and reading. Everyone had the front of the room, swaying and clap- and the Popular Music Interest Group wonderful individual moments, but for ping with the music, while others followed (Kristen K. Stauffer and Philip A. Todd, co- many observers, David Nicholls provided suit along the walls. As Johann Buis whis- chairs). a summarizing focal point when he pered questions about the song selection described in detail, as part of his realiza- to drummer Leonard, Precious exhorted 20th-Century tion, exactly what he was doing at that those sitting down to “move up front” in particular time and place. preparation for a more lively selection of Music Interest Group The atmosphere created by Theatre praise songs. Piece embraced everything that came in James played lead with Anthony on The 20th-century Special Interest Group contact with it. Music, speech, and bass during “Just A Closer Walk With Thee” presented a performance of John Cage’s applause from the neighboring conference in preparation for the praise music. By the Theatre Piece (1960) at the Charleston room, so often a disturbance in other time Roxanne Reed made her enthusias- Conference. In the work’s instructions, Cage sessions, was an integral and welcome tic charge between songs, urging audience makes clear that the performance is a presence in this one. Craig Parker’s tardy members to “get up, or you won’t get composite of the performers’ (from one to appearance at the door of the room was blessed!” the rhythmic voltage in the room eight) individual realizations of their parts. indistinguishable from the rest of the was rising. There is to be no conductor or director. performance. The musicians began to bless the audi- Complying in spirit, our non-conduc- Working on Theatre Piece was an eye- ence—standing or not—with “I Thank tor, non-director was Wayne Shirley. Never opening experience for the participants, You, Lord,” which moved up-tempo and quite telling anyone what to do, Wayne and it led to a stimulating discussion of led to the “moanin’” style of steel guitar was nonetheless always ready with advice, nearly an hour following the performance. playing. Precious introduced another stories, and suggestions as numerous Comments concerning preparation as praise song, “God Is Still In Charge,” noting puzzles in the parts presented themselves. essential to the concept of performance, that this was always sung by a special “old During the process of creating our parts, the perception of time, and the blurred sister” in her church. James followed this we formed an email listserv. Those who boundaries between composer, per- song with a hot lap-steel praise solo, then wanted to share an idea or illicit a variety former, and audience led to observations moved into a slow-down song as the style of opinions had the option of communi- about life in general. A splendid time was of worship changed. Anthony presented cating with everyone at once. The Theatre had by all. a pedal-steel reading of “At The Cross,” Piece instructions and the parts are

52 The Bulletin for the Society for American Music • Vol. XXVI, No. 2/3 Musical Theater Interest Group events, and transportation in his dedica- College of Denver, who both communi- tions and titles (e.g., Chanute, Kansas City, cated their willingness to serve if The Musical Theater Interest Group and Fort Davis, Kansas; Kokomo, Indiana; confirmed by the Group. helped plan two events for the meeting in Ladies Band, Sells Brothers Circus, Karnival The Charleston Program Booklet Charleston, 1-5 March 2000. On Friday Krewe; and the World’s Fair, Kansas City announced the necessity of electing a new afternoon, 3 March, we joined the Exposition, and Columbia Exposition, the chair in the meeting abstract. Because Eighteenth Century Interest Group in a A.T. & Santa Fe railroad) to overtures, Norton was unable to convene the Interest tour of Charleston’s Dock Street Theater, quicksteps, marches, two-steps, polkas, Group during its scheduled meeting time, hosted by theater director Suzanne and cakewalks. Dr. Wagner incorporated Jean Geil, outgoing Interest Groups Liaison Mitchell. We found it a lovely, if well-worn numerous slides of Southwell’s composi- to the Board, called the meeting to order facility, but claims made about the recon- tions in his bio-bibliographical presenta- at 10:15 on 5 March 2000. Marilynn Smiley struction’s authenticity based on eigh- tion to enhance description of 19th-century recorded minutes of the meeting. teenth-century models are exaggerated. music publishing practice. No nominations were received from the The Musical Theater Interest Group also In conjunction with the doctor of musi- floor. Curtis and Meyer-Frazier were provi- spawned one of the Saturday morning cal arts degree from the University of sionally accepted as new co-chairs of the sessions: “Rainbows, Cats, and Assassins: Illinois School of Music, Michael Smith has Group, pending additional confirmation Crafting Music and Lyrics for the Broadway compiled information regarding the of their willingness to serve in this capac- Musical.” Included were fascinating papers Indianapolis-based Schubert Quartet ity. This confirmation was received in mid- by Anna Wheeler Gentry (University of comprised of Herbert L. Clarke (cornet), March; Norton is happy to announce their Missouri-Kansas City), Jessica Sternfeld Walter Rogers (cornet), Edwin G. Clarke appointments as new co-chairs of the (Princeton University), and Jim (alto horn), and Ernest Clarke (trombone). Interest Group. Lovensheimer (Ohio State University). The group refined their ensemble at the —Kay Norton, Outgoing Chair Musical Theater Interest Group activities Plymouth Congregational Church where for the Trinidad meeting are being coor- Clarke family patriarch William G. Clarke American Music dinated by William Everett (University of served as organist and director of music. Missouri-Kansas City). The primary source of repertory for the in American Schools —Paul Laird quartet has been preserved in books that Interest Group University of Kansas include transcriptions and original compositions by both Rogers and Clarke; the The American Music in American 19th Century Music books are held at the Sousa Archives for Schools and Universities Interest Group Band Research at the University of Illinois set as its agenda for the Charleston meet- Interest Group at Urbana-Champaign. The materials have ing an open forum in which to discuss been reformatted through a National Strategies for Teaching American Music. The American Band Music Research Endowment for the Humanities-sponsored Modeled after the discussion conducted at Interest Group meeting in Charleston preservation microfilming project. the Interest Group meeting in Madison in provided a forum for two papers related Michael’s project includes information 1996, this session revisited the issues and to 19th century band music and musicians, related to the Victor Brass Quartet, as well continued the dialogue surrounding our “Music for America’s Hometown Bands: as a forthcoming critical edition and a objective to promote American music as a Tracing the Southwell Publishing Firm” compact disc recording of the Schubert constant and vital part of the curriculum, and “The Victor Brass Quartet: Music by Quartet book materials. both at the K-12 level and in the college Walter Rogers and Herbert L. Clarke.” The American Band History Research and university environment. What follows Professor of Music Quincy University Interest Group will not officially convene is a brief synopsis of the discussion that Lavern Wagner presented the results of his at the annual meeting in Trinidad in 2001; ensued. research and recent publication of critical members will re-group in 2002 at the The greatest challenge that the interest editions of works by band music publisher annual meeting of the Society in Lexington, group identified in teaching American George Southwell (1852-1916). Dr. Wagner Kentucky. music at the college and university level is traced Southwell’s migration from Illinois the element of time. How do we address through Missouri to Kansas as he literally Research on Gender the breadth and diversity of music that has widened his horizons and developed his been embraced in the research during the reputation in the music publishing busi- and American Music twentieth century within an already estab- ness. Dr. Wagner’s select bibliography of Interest Group lished number of credit hours? How do we Southwell’s works from 1881 through 1913 incorporate literature by American include compositions related to geographic In February of 2000, Kay Norton, outgo- composers, as well as works by women locations from Princeton, Illinois to ing chair, contacted several regular atten- and minority composers, ethnic musics, Wellington and Fort Davis, Kansas, as well ders of the Interest Group to suggest that and world musics into a paradigm that was as the “Union Quickstep” that Southwell the leadership be shared between co- initially designed to encompass the dedicated to the Union Fire Company of chairs. She forwarded the names of Liane Western European cultivated milieu at best? Winchester Virginia. He commemorated Curtis of Brandeis University and Petra Further, students seem to come to our other cities and towns, organizations, Meyer-Frazier of the Metropolitan State classes with less exposure to American

continued on page 54

The Bulletin for the Society for American Music • Vol. XXVI, No. 2/3 53 “Conference Report” continued from page 53 tools and strategies for teaching American their own research. Those present seemed music. As the structure of communities, history through music. more interested in learning more about the schools, churches, and families has been The Charleston session closed on an musicological world around them, than in altered, familiarity of our students to a optimistic note as Larry Worster imposing their own agendas. Nowhere repertoire of American “standards” can no commented that when the Sonneck was this more evident than in discussions longer be assumed. With exposure to Society was originally formed, American with fellow students. The veteran musi- American music now included in NASM music was viewed as almost a “liability.” cology students made me feel welcome at and MENC recommendations, how do we What a success story it is now, he all times and I learned so much from their acknowledge this charge and embrace the observed, as we are faced with the chal- stories and experiences in music. Our talks diversity at hand? Many in attendance at lenge of trying to “ﬁt it all in”! ranged from Mozart to Metallica and each the session described a paradigm shift in —Maxine Fawcett-Yeske discussion was more invigorating than the their teaching—a shift from teaching a Nebraska Wesleyan University last. body of “material” to a model that explores I will always remember my stay in music in its full context—investigating Silent Auction Report Charleston, not only for the beautiful issues, fostering integration, and promot- scenery, but for the members of the Society ing critical thinking. Through this for American Music that made my experi- The Society took in over $2,000 to help approach, Dvorak’s “New World” ence so positive. Thank you, program with the Student Conference Travel and Symphony, as an example, can become a committee, for deeming my paper worthy Accommodations fund. Thanks to all who point of departure for a discussion of not of this conference. Thank you, faculty brought such wonderful offerings and to only symphonic literature, but for exami- members, for being interested in the all to bought them! The new chair of the nation of African-American spirituals and research of a lowly student. Thank you, Silent Auction is Dianna Eiland. You’ll be other American vernacular musics, the life student members, for reminding me why hearing from her as the Trinidad confer- and career of Henry T. Burleigh, and I became a musicologist. Last, but certainly ence nears. America’s musical identity in the late nine- not least, I would like to thank the society —Kate van Winkle Keller teenth and early twentieth centuries, for making it possible for students like among numerous other possible avenues myself to attend these conferences by of study. By encouraging critical thinking, Charleston establishing the student travel fund. I we develop in our students the skills that From a Student’s Perspective would not have been in Charleston with- will help them understand the various out it. types of music they encounter both in and In the weeks leading up to the confer- —Tony Bushard beyond the classroom. While we may not ence in Charleston, I was somewhat appre- University of Kansas be able to teach every detail in the wealth hensive as to what would await me once of musics that have now come to the fore, I arrived as a ﬁrst-time student attendee. I we can be catalysts for the type of inquiry had attended one musicological confer- that promotes lifelong learning. ence up until that time and I remember The interest group also addressed the being both exhilarated and distraught. needs and concerns of K-12 teachers, Exhilarated at the prospect of discussing those who supervise student teachers, and the field I love with so many different studio teachers. What resources are avail- people, both faculty and students, and able to assist them in incorporating distraught with the lack of camaraderie American music into their classrooms and between students and faculty of different studios? institutions. I also remember witnessing Workshops provide valuable opportu- the inquisition between papers and feel- nities in this area. For example, Christine ing queasy imagining myself at the de Catanzaro shared information about the podium. Since I was to present my first Georgia State University Summerwind paper at Charleston, these reminiscences Seminar with the group. This annual two- did not calm my fears. day workshop for K-12 teachers of music, I am happy to report that these fears no social studies, and language arts, focuses longer exist thanks to the wonderful expe- on aspects of American twentieth-century rience I had at the conference in popular song and how this repertory can Charleston. The paper was well received enhance classroom instruction. A need for and the discussion following was just anthologies covering various style periods that—a discussion. The questions really was also noted. The Voices Across Time made me think and some led to new Project, directed by Deane Root at the avenues of research. Center for American Music at the The one thing that I will always remem- University of Pittsburgh, was recognized ber from this conference was the warmth as an endeavor making great strides in this of the people involved—both faculty and area. Currently in the pilot phase of its students. People were interested in what development, this curriculum provides the I had to say and in turn were excited about

54 The Bulletin for the Society for American Music • Vol. XXVI, No. 2/3 LETTER FROM BRITAIN FROM AMERICA

For this Letter from Britain, Bridget is only officially open once a year, I was MacDowell Colony; Dan Pinkham, profes- Falconer-Salkeld, a postgraduate student at taken inside to find a diminutive space, with sor at the New England Conservatory, the Institute of United States Studies, University lattice casement windows, original furnish- Boston; an introduction by Steve Ledbetter; of London, reports on her recent research visit ings, and framed pictures. It was highly and in the past few days, Barbara Kolb and to America. Bridget was the recipient of a atmospheric. Likewise the MacDowell Ned Rorem. Their perspectives and insights travel award from the Central Research Fund gravesite where I paid respects on my last on the MacDowell Colony have provided of the University of London to aid her study of day. The enormous boulder where the study with invaluable primary source the role of the MacDowell Colony in the MacDowell would sit and contemplate material, and the author with the memo- development of American music. Her Monadnock seemed to stand sentinel over rable experience of talking and meeting supervisor for this study is Peter Dickinson. the graves. with them. Bridget wishes to gratefully acknowledge all On a much smaller scale, and perfectly Before reporting on the two concerts in those in the United States who have generously round, were the unvarnished wooden orbs New York, I will mention some highlights assisted the research and contributed to the that marched across a meadow near Colony of my journeys here. Highlights do not, of project. Hall, headquarters of the Colony. No boul- course, encompass only the pleasurable, ders these. Their maker, a sculptor, even but also the discomfiture of present-day trav- Welcome to Newark Airport ran the covered them in protective black plastic elers who submit themselves to the tender legend, and the adjacent portrait of Bill whenever rain threatened. So there was the mercies of airline companies. Once, Clinton had a promising, starry-eyed look. daily surreal sight of a piece of outdoors however, and for probably the only time in In retrospect they were inadequate expres- installation art constantly changing its face— my life, I traveled first-class from Atlanta to sions. Welcome to American Music—an pale gold-black-pale gold—according to the Newark, courtesy of the airline whose flight Experience of a Lifetime would have been weather. was canceled the previous day due to nearer the mark! Writing seven weeks later, The seven days of research were spent adverse weather. I will no more burden the mid-May, at the request of your customary mostly in the Savidge Library, a high- reader with lengthy descriptions of trials British correspondent, David Nicholls, this ceilinged hall with flagstone floor, perfectly endured than with the moments of extreme kaleidoscopic experience draws to a close quiet in its wooded setting. A grand piano delight. Ce serait trop! But it was due to this after meetings in New York with two suggested musical evenings; on it was a unscheduled overnight stop in Atlanta that composers, Barbara Kolb and Ned Rorem, donated copy of Ned Rorem’s Evidence of a quite extraordinary coincidence occurred. and two memorable New York concerts. Things Not Seen (1999). Promising myself Abroad you think, even hope, you are But to retrace: My research trip began late that, once back in New York, I would buy incognita. It Ain’t Necessarily So! I was hailed March, and by early April I had reached the newly released CD of the cycle, I busied by a good friend, borough historian of Peterborough, New Hampshire, home of myself with exploring the extensive Manasquan, New Jersey, while waiting to the MacDowell Colony, subject of the study. recorded archive. Needless to say, I received board the same flight from Atlanta. I’d Still in the grip of winter, the landscape every assistance from David Macy, resident stayed with her two years before while resembled the far north of Europe—all gray, manager of the MacDowell Colony, and his researching a paper on Robert Louis silver and leafless, except for the White staff. This was preparatory to researching Stevenson at Brielle and Manasquan.1 It was Birch whose ivory-colored leaves were at Columbia University, NYPL for the fun to go aft and chat with her until take- suspended like Chinese lanterns. The Performing Arts, the MacDowell Colony off, and then return to First Class for a deli- purposeful activity of the MacDowell New York offices, and interviewing cious breakfast. colonists contrasted with the cold stillness MacDowell composers. Here the gentle reader asks, “What on outdoors. Later, however, there were wild I have been exceedingly fortunate in earth has Atlanta to do with MacDowell?” storms followed by heavy snow. But to see having ten American composers so far The answer is, of course, nothing at all that snowflakes gently falling and spinning contribute to the study: Larry Austin, Todd I know of. It was just one of the stops on a through the trees outside MacDowell’s Brief, Gerald Chenoweth, and Gardner Read round-trip to visit American friends I had studio was poetic in the extreme. returned completed questionnaires; Lukas first met in Paris. Phoenix, Arizona, and Vero On the lunch-basket delivery run to each Foss and Howard Shanet gave telephone Beach, on the Florida East Coast, was where of the occupied studios one day, it was a interviews based on the questionnaire; I stayed with them. And what remains? surprise to discover that MacDowell’s log Russell Oberlin telephoned here from In Arizona, a weekend trip to see the cabin is built on a platform down a steep Venice [!] that he would be pleased to Grand Canyon, Sedona Canyon, and the ravine. It is cleverly aligned with a White contribute on the subject of the develop- nearby town, where I had the biggest black- Pine of venerable age, and with Mount ment of American music when he returns currant sorbet ever—five scoops no less! I Monadnock, a cone-shaped peak some from Italy; and four composers very kindly was impressed by the superbly engineered miles away. Sited at one with its environ- gave me face-to-face recorded interviews, highways, varieties of desertscapes, and vast ment, the cabin brought to mind Frank la crème-de-la-crème of interviews. In the deciduous forests. The Grand Canyon, Lloyd Wright’s house Fallingwater in order in which I met them they were— which reveals the effects of geologic time, Pennsylvania, built 1936. Although the cabin David Rakowski, in residence at the continued on page 57

The Bulletin for the Society for American Music • Vol. XXVI, No. 2/3 55 PERFORMANCES OF NOTE

The Great American the founding of the Eastman Wind near the Belgian border. Finally, the GABBF Brass Band Festival Ensemble. also featured British tuba virtuoso Stephen The afternoon session began with a Sykes as soloist with the host Advocate On the second weekend of this past June, paper on “The International Tours of the Brass Band. Centre College and the town of Danville, Sousa Band” by noted Sousa scholar Paul Using several outdoor stages and other KY played host to the eleventh annual Great E. Bierley (Westerville, OH), which featured performance venues on the campus of American Brass Band Festival (GABBF). literally dozens upon dozens of slides illus- Centre College and throughout Danville’s First conceived and organized in 1990 by trating the presentation. The final paper of downtown area, as many as four different SAM member George Foreman and his the day, “A Short History of the British Brass ensembles performed simultaneously Centre faculty colleague Vince DiMartino, Band” by Ronald W. Holz (Asbury College), throughout the day on Saturday, while the GABBF has grown from that first year’s included some of the best aural (and also Sunday’s performances were limited to one relatively modest series of concerts by eight visual) examples one might have wished main stage. In addition to the weekend con- regional ensembles into a major four-day for in a scholarly setting. As Holz explained certs, the GABBF also included numerous event for anyone interested in bands and the evolution and development of brass other performances at the Elderhostel pro- band music. This year’s GABBF featured bands, each stage was illustrated by an gram (Thursday, 8 June), the Band more than forty hours of live concerts by excerpt performed by a pick-up ensemble Conference, and other related events such sixteen ensembles, including performers (drawn from the members of several ensem- as the Great American Balloon Race (Friday, from Europe and Asia, the tenth annual bles participating in the GABBF) configured 9 June). With each group performing at least Band History Conference, an Elderhostel in the precise instrumentation under dis- twice on the weekend, as well as in the program, and numerous other activities. cussion. Saturday morning parade, it was possible In keeping with the GABBF’s first ever Following the day of scholarly presenta- to hear nearly every ensemble at least once. invitations to bands from outside the United tions, conference participants and a public One of the goals at the first GABBF in States, the Band History Conference on 9 audience estimated at more than 10,000 1990 had been the recreation of the idyllic June, chaired by Frank Cipolla (SUNY- enjoyed two full days (Saturday and Sunday, turn-of-the-century atmosphere during Buffalo), made “International Connections” 10-11 June) of concerts by a series of ensem- which American bands were at the height its theme. The day began with Raoul Camus bles that illustrated the breadth and depth of their popularity. In the subsequent festi- (CUNY) discussing “The Influence of Italian of band music, both in America and from vals, including this year’s, numerous ancil- Bandmasters on American Bands.” In his abroad. Despite the festival’s name, only a lary events and other adjuncts, e.g., an presentation, he identified many of the handful of the invited groups might be con- antique show, flower show, individuals in extraordinary number of Italian musicians sidered traditional “brass bands,” i.e., the period costumes, street vendors, etc., have who contributed to the American band Festival Brass (an English Salvation Army helped the GABBF to retain its unique fla- movement in the nineteenth and twentieth band), the Tivoli Ensemble (Denmark) and vor. At the same time, the addition of the centuries. As Camus noted, the vogue for the Trailblazers (Japan), while the Advocate Band History Conference in 1991 and the Italian bandsmen eventually became so Brass Band (Danville, KY) followed the Elderhostel in 1998 have given this event an great that more than a few musicians American practice of including clarinets and important educational and scholarly dimen- Italianicized their names to improve their a piccolo in the ensemble. Among the other sion. marketability. groups were several that used period instru- Underscoring this latter significance and In his paper, “Henry Distin: Revolutionary ments to recreate mid-nineteenth-century impact of the GABBF was the announce- or Evolutionary,” organologist and collec- American bands (Olde Town Brass, Saxton’s ment earlier this year that plans are now tor Lloyd P. Farrar (Norris, TN) examined Cornet Band, and the Eighth Regiment Band underway for the development of a band the career and contributions of an impor- of Georgia), brass quintets (Millennium museum in Danville. The initial step toward tant British, and later American, instrument Brass, Top Brass, and Main Street Brass), the this goal came earlier this year with the manufacturer. Several instruments from Dixieland-style Olympia Brass Band, and transfer of ownership of an empty Federal Farrar’s own collection made it possible the comic Circle City Sidewalk Stompers. Building in Danville to the city for use as a both to see and to hear the results of Distin’s American military music was represented band museum. Funds for the renovation of improved designs of brass instruments in by the 202d Army Band, the Band of the U.S. the building and donations of items for the the nineteenth century. The morning ses- Air Force Reserve, which also brought its museum are now being sought. Interested sion concluded with an informal presenta- Scottish Pipe Band, and the Army’s individuals may contact either George tion on “College Bands: Concert Band to “Hellcats,” the drum and bugle corps sta- Foreman or Debra Hoskins at the Norton the Wind Ensemble” by legendary conduc- tioned at West Point. Interestingly, one Center for the Arts, Centre College, 600 West tor Frederick Fennell. In a relaxed conver- ensemble that most resembled a tradition- Walnut Street, Danville, KY 40422 sation with Cipolla, Fennell reminisced al American concert band was the (Telephone: 859-236-4692). about his early years in music and explained Musikverein Herforst, an amateur civic band Additional information on the 2000 Great how his own interest in band music led to from a small German farming community American Brass Band Festival is available

56 The Bulletin for the Society for American Music • Vol. XXVI, No. 2/3 “Letter from Britain” continued from page 55 on the web at: http://www.gabbf.com, ‘uniforms’ ambled out of the staid venue to while information on next year’s festival will resonated with Rembrandt’s The Anatomy rev their Harley-Davidsons in the street be posted at that same site as it becomes Lesson in evoking both awe and horror. fronting the hall, just as members of the available. In Florida, the shallow, smooth-surfaced chamber orchestra were arriving. Perplexity —Scott Warfield Indian River glided past the backyard on all sides. Yet around the corner stood a Centre College [garden]; its dredged center, the intracoastal group of tall, French officer cadets resplen- highway, carried vessels of sizeable dent in Napoleonic uniforms of black tunics, Aaron Copland Festival tonnage. At dusk, golden light gilded the cocked hats and white buckskin trousers. river, silhouetting the palm trees; the vege- The New York concerts I attended both The Pacific Symphony (Carl St. Clair, tation seemed familiar yet strange. featured Ned Rorem. The first, Ned Rorem Music Director) recently mounted an eight- On the cultural side, Vero Beach Arts Hosts: American Songwriters, took place at day Copland festival with a special focus on Center, designed to international standards, the 92nd Street Y, Wednesday, 10 May. In Copland and film from 12-19 November had a fine art exhibition, and showed full- addition to hosting the evening, Ned Rorem 2000. Participating scholars were Joseph length films on the featured artists—Diego accompanied his own work, War Scenes Horowitz (Artistic Consultant), David Schiff, Rivera and Freda Kohla. (1969), with Kurt Ollmann, baritone. This and Robert Winter. The legendary Back on the American music trail, was a fine, robust performance that made Hollywood composer David Raksin also another high-quality indoor space to a powerful impact. The concert was well took part. mention is the New England Conservatory’s attended. Refreshments were served at the The festival’s three orchestral concerts, Jordan Hall, a designated National Historic intermission, and novel to a British visitor three films, and various special events Site. It was Dan Pinkham who kindly was the party afterwards for both audience included a screening with live orchestral showed it to me following our meeting. and performers. Wine and food was accompaniment of “The City,” a distin- Afterwards, due to unforeseen circum- served—excellent! guished 45-minute documentary for the stances, that night was spent on the Boston- The second concert, entitled Orpheus 1939 World’s Fair for which Copland NY-Washington D.C. sleeper train, not Celebrates Yaddo, was the last in a series of furnished an elaborate and ingenious sleeping. Then, By New York Penn Station three celebrating one hundred years of score—a starting point for his influentail I Sat Down and . . . waited for the 4:49 AM Yaddo, the professional creative artists’ musical tropes for “city” and “country.” The train to Newark Penn. If a pristine, mini- community at Saratoga Springs, New York. original soundtrack (conducted by Max malist lodging for the night is all you require It was held at the New York Society for Goberman) barely suggests the richness and then New York Penn’s Amtrak/NJ Transit Ethical Culture, West 64th Street. The originality of this nearly continuous music, waiting area fulfils all requirements—except Orpheus Chamber Orchestra performed which at times strikingly prefigures the film that of sleep. The cleaning taskforce works by composers who had worked at music of Philip Glass (!). performed their duties with the dedication Yaddo, in program order: Michael Torke, David Schiff spoke on the political of Trappist monks in the clean, lightly Barbara Kolb, Sebastian Currier, Leonard content of Copland’s 10 film scores in perfumed, air-conditioned hall, all white, Bernstein, Steven Burke, and Ned Rorem. conjunction with a screening of “Of Mice silver, and gray. The only sound was the After each work the composer received the and Men,” and additional commentary by perpetual squeaking of escalators. audience applause. George Tsontakis had David Raksin on Copland’s influence in And what of people seen and met by devised a very interesting program; each Hollywood. Robert Winter presented the chance? On a plane from Atlanta to composition employed tonality and atonal- public debut of his new CD-ROM on Melbourne, Florida, I helped an off-duty ity to varying degrees, yet each composer’s “Appalachian Spring,” including a rare film cabin crewmember to revise for her philos- musical language was strikingly individual. of the complete ballet as danced by Martha ophy exam that very evening. In return, she Kaleidoscopic, contrastive scenes and Graham and her company. presented me with a fresh red rosebud in a events have been a constant theme of this The festival also incorporated piano miniature vase of water that she had bought research trip in the United States. I suspect music (with Benjamin Pasternak), chamber in The Lanes, Brighton, England, that very that the next time will be just as rewarding. music, and numerous orchestral works. morning! I was reminded that information William Warfield was the soloist in “A Note: can be picked up in the oddest places when Lincoln Portrait.” The Pacific Symphony, 1. Between Brielle and Manasquan, poem by a fellow bus passenger told me about an California’s third largest orchestra, is located Oliver St. John Gogarty written during his early twentieth-century artists’ colony in residency at Princeton. in Santa Ana (Orange County). Upper New York State which I had not come across. For human contrast it’s hard to beat what I saw just before last Saturday’s concert in New York City. A burly posse of bikers, men and women, in red and black leather

The Bulletin for the Society for American Music • Vol. XXVI, No. 2/3 57 Student Travel Funding for Trinidad REPORT FROM THE ACLS MEETING Through the Student Travel Endowment, students may receive financial assistance that will help defray the cost of attending Washington D.C., 4-6 May 2000. This was ial, which can include much more than just the national conference of the Society for my first meeting of the American Council of text. The pessimists worry about losing the American Music in Trinidad 2001. Students Learned Societies as a delegate from SAM, discipline of the page, the tendency to receiving funds must be members of the and I found it fascinating. I am grateful to sprawl, and the increased possibilities for Society and enrolled at a college or univer- the Board for appointing me to this posi- plagiarism and fraud. For Societies such as sity (with the exception of doctoral students tion, since I think it provides good visibil- ours, the prospect of on-line publishing of who need not be formally enrolled).The ity for the Society as well as topics that the Journal, for instance, may impact the Fund will endeavor to support as many should be of interest to all of us. way the society operates in terms of applicants as possible at a level commen- The topics I wish to highlight from this membership, dues, etc. If a journal is acces- surate with the available funds. year’s meeting are three: new fellowship sible to all, why join the Society? The fund will provide financial assistance opportunities for scholars; the possibilities The on-line version of the Dictionary of up to full transportation costs, i.e., the least of e-publishing, which was the major topic American Biography is an example of the expensive round-trip airfare available to of this meeting; and the opportunities for benefits of electronic publishing, however, Trinidad. It will not pay for transfers, park- expanding awareness of American music since it provides a chance to bring in new ing, car rental, or local transportation. A stu- through entries in the Dictionary of research on many areas—including dent who is presenting a paper or who has American Biography, an ACLS sponsored American music. The Dictionary editors an official function at the conference will publication. intend to keep adding to the 24 volumes receive priority in the allocation of funding. The ACLS has traditionally offered fellow- that were published last year, by doing it on Students who have not been granted ships for all areas of the humanities; this year line. They are looking for neglected figures funding previously, or if so, not in the pre- 65 such awards were given, two of which in any field, and certainly including music, vious year, will be accorded second priori- went to music (out of a total of 29 applicants as long as they are deceased. Most inter- ty. Students who are awarded funds are in that field). A new category of awards, esting, perhaps, is the fact that they asked to volunteer at the silent auction table entitled the Frederick Burkhardt Fellowships welcome biographies of typical members during the conference for an hour and a half for Recently Tenured Scholars, is aimed at of minority groups and/or “typical” repre- shift (the silent auction is the source for stu- expanding the horizons of mature, but still sentatives of other groups—for instance, a dent travel funding). They will also be asked young scholars, who might otherwise stag- traditional singer whose biography might to help with the Silent Auction itself, which nate or become even more specialized. This represent that whole group of people. (I will occur on Saturday evening, May 26. To award encourages interdisciplinary work suggested someone like Sarah Ogan arrange a time, students should contact and allows the winners to spend time at one Gunning, who is not currently in the Dianna Eiland at [email protected]. of the national centers for the humanities in Dictionary, but who is a representative Students may also be asked to write a few order to aid that process. Worth over figure and whose biographical details are “thank you” letters to acknowledge indi- $60,000, only eleven were given this year, known.) Inventive members of SAM can vidual donors. For more information about but it is hoped that the number will grow, surely come up with some biographies that this responsibility, students may contact stu- and that this gesture by ACLS will encour- would be helpful and that would get some dent committee co-chairs Rebecca Bryant age other fellowship opportunities for this of our musical oral traditions (and other ([email protected]) and Renee Camus important group of scholars. traditions) more into the national conscious- ([email protected]). A small block of ACLS is taking the topic of electronic ness. Praised for its inclusiveness, the DAB reduced-cost rooms are available through publishing very seriously and is trying to , will become even more so if some of us the Society for American Music at a local provide leadership in making it both contribute our knowledge. To look at the Port of Spain Hotel. Please contact Marianna respectable and viable. The major issue of dictionary online, see “www.anb.org”. To Whitmer at [email protected] for more electronic publishing, whether it be jour- contribute an article, contact Johnathan information. Students in search of room- nals, books, or occasional papers, is to Wiener at Oxford University Press. mates should contact Renee Camus at uphold the standards of scholarly publish- Our membership in the ACLS continues [email protected]. ing and the integrity of publication, while to be of enormous benefit to the Society, A copy of the application form at the same time taking advantage of the and I promise to bring regular updates as is available at www.american- flexibility and constant updating capabili- to their activities. music.org/sttravap.htm, and the applica- ties of electronic publishing. The optimists —Anne Dhu McLucas tion form must be received by Marva in this field see new possibilities for rela- University of Oregon Carter no later than February 15, 2001. tionships between readers and the mater- Applications may be mailed to: Marva Carter School of Music Georgia State University University Plaza Atlanta, GA 30303.

58 The Bulletin for the Society for American Music • Vol. XXVI, No. 2/3 Lillie C. Phillips of the Hutchinson Family Singers

their careers. But when Lillie traveled to The Hutchinsons traveled by day and —Alan Lewis Massachusetts in August 1877 to join John gave concerts night after night. Though Hutchinson’s company, the decision seems Henry was among the most popular not to have been a hard one to make. Lillie American singers of the time, it is surpris- In the spring of 1877, John Hutchinson proved to be a Hutchinson in every respect ing how many press notices from this tour of the famous Hutchinson Family singers but name. concentrate, instead, on the solos of Lillie finished a series of concerts in Washington, and of John—who was then fifty-eight years D.C. After he sent for his wife, Fanny, old! One of Lillie’s best-received they started west to Illinois on a trip songs was Robert Topliff’s “Consider that involved professional engage- the Lilies.” John and his brother-in- ments, as well as visits with family Feet are interlacing, law, Ludlow Patton, preserved a and friends in Chicago and Wheaton. heads severely bumped; large number of notices from this David and Evan Hughes, who West Coast tour; it is interesting that were singing in John’s group at the Friend and foe together, none of them mention that Lillie was time, told him about Lillie Caroline pregnant. Phillips (b. 1853), a vocalist they once get their noses thumped. In September 1879, the heard when she was but a girl in her Dresses act as carpets; Hutchinsons were traveling in a home state of Pennsylvania. So, four-horse stagecoach across the evidently sometime in April, the listen to the sage: mountains of Oregon and California, Hutchinsons, along with Chicago Life is but a journey, bound for San Francisco. Their vehi- agent H. L. Slayton, visited Lillie’s cle set new standards for DIS- church to listen for themselves. taken in a stage. comfort. They gave concerts in cities Lillie was the daughter of Isaac and —Hutchinson Family Singers and towns all along the way to the Louisa Phillips. Hers was a musical Golden Gate. The trip must have family and she seems to have been been particularly trying for Lillie and fairly well known in Chicago already, having In no time after Lillie’s advent, music fans Jack, her month-old baby. Perhaps the sung with Annie Louise Cary and other were flocking to Hutchinson Family rough going brought to mind one of the notable musicians of the day. Lillie had a concerts again. Word-of-mouth advertising Hutchinsons’ old songs, “Riding in a Stage.” wonderful mezzo-soprano voice that she can be a quick and wonderful thing! A few Feet are interlacing, managed skillfully. Her brothers, Chapin months later, Henry Hutchinson heard Lillie heads severely bumped; and Fred, were both accomplished singers. sing for the first time and he permitted Friend and foe together, Hearing Lillie sing, just once, was all it took himself to be lured back into his father’s get their noses thumped. Dresses act as carpets; listen to the sage: to convince John and Fanny Hutchinson that troupe, which may answer the musical Life is but a journey, taken in a stage. they wanted to enlist her in their vocal group. question of what love has to do with it. At the time, the Hutchinsons needed to Hundreds of reviews—perhaps thou- Woody Guthrie wrote about his hard trav- recruit singers from outside the family. For sands—described Hutchinson Family elin’. It seems Lillie could have added a one thing, John and Fanny’s son Henry had harmonies as “perfect.” Though Lillie was thought or two on that subject. proven to be quite restless. He would tour not related to the other group members, her In San Francisco, the heat was oppres- with his father’s company for a time; and voice mixed with theirs exceptionally well. sive and many of the local people fled to then he would go off to start a new busi- According to John, “The combination the cool breezes of the coastal villages. But ness enterprise or join an opera company seemed to take our audiences by storm.” the Hutchinson Family sang in uncomfort- or work on a construction crew. He had to think back more than twenty-five able halls for the entertainment of those Now, we might ask why a young singer years to remember a time when he had so folks who could not get away from the city such as Lillie would want to put aside the many engagements. The company went heat. We have no record of any complaints promise of a solo career to sing as a member from success to success, including a delight- from Lillie. For the next twenty years and of America’s oldest and possibly most ful tour of the West Coast, from the Mexican possibly more, it would be her fate to travel nomadic vocal group. After all, the border all the way up into British Columbia. through every part of this country and in Hutchinson Family reached their greatest Hutchinson Family written records— every climate, playing a portable melodeon peak of popularity before Lillie was born, which are extensive, to say the least—are and singing for the people. She sang in back when they were singing their songs of silent about the wedding of Henry and Lillie, magnificent concert halls and at the White freedom in support of the antislavery agita- though it would be a safe guess that they House, as well as in the streets of America’s tion. By the mid-1870s, the two main were married in Chicago on their way to great cities and towns. groups—one led by John and another by California. his brother Asa—were nearing the end of continued on page 60

The Bulletin for the Society for American Music • Vol. XXVI, No. 2/3 59 “Lillie C. Phillips” continued from page 59 before the public for the better part of three In its 3 January 1879 issue, the Sacramento decades, it is surprising how little has been Daily Record said, “Miss Lillie C. Phillips has written about her life and career. And it a mezzo-soprano voice of broad register, appears that genealogical work on her pure, fluent and of enchanting sweetness branch of the Phillips and Hutchinson fami- and delicacy. She has more of expression lies is yet to be done. All the information and dramatic power than is common to the that is currently available about Lillie—with most highly cultured sopranos. Since Miss very rare exceptions—comes from John Cary, we have had no one here who Hutchinson’s 1896 book and from the approaches the high standard of that lady, Hutchinson Family Scrapbook kept by as does Miss Phillips.” In a notice published John’s brother-in-law, Ludlow Patton. on 8 April 1879, the San Diego Union agreed, Lillie’s reviews were consistently excel- and added: “Her ballads are really charming, lent. She did as much as anyone to return sung with pure intonation and every word the Hutchinson Family to a high level of as distinct as though rendered by a profes- success late in their careers. She sang for sional elocutionist. Her voice also shows audiences great and small. She performed good cultivation, and in the ‘Flower song’ in big cities and in small-town America. Lillie from Faust, was as flexible and yet as true to sang popular songs, songs of faith, and the score as the severest critic could desire.” selections from operas and the classical During the same California tour, the Santa repertoire. And she sang in support of Barbara Advertiser reported that “her audi- causes such as temperance and women’s ence could have listened for hours without rights. She sang in all four corners of the feeling weary.” Publicity used by John country and in every region in between. Hutchinson’s company included this rave Lillie C. Phillips is a singer who very much from the San Francisco Alta about the deserves to be remembered. group’s harmonies: “The quartette singing of this family is without doubt the finest ever Alan Lewis is an independent scholar who heard in this city . . .” has been researching the Hutchinson Family, After completing the tour of the West off and on, for over thirty years. He Coast, Lillie played the title role, in the Mid- contributes notices to the Boston Globe and West and New England, in the dramatic other print and online publications and is cantata, “Ruth, the Moabitess.” currently constructing an Internet site on Henry Hutchinson died in 1884. A couple popular music, the New England Music years later, Lillie and her sons, Jack and Scrapbook. Lewis receives correspondence at Richard, moved to Chicago. If Lillie thought [email protected]. then that her touring days were over, she References: would have been greatly mistaken. Soon Hutchinson, John Wallace. 1896. Story of the she married Rev. Henry Morgan, a traveling Hutchinsons. evangelist—with emphasis on the word (TRIBE OF JESSE). 2 vols. Compiled and “traveling.” For another ten years, Lillie and Edited by Charles E. Mann, With an her boys journeyed from sea to shining sea, Introduction by Frederick Douglass. Boston: riding in a wagon—or in whatever mode of Lee and Shepard. transportation was required—to get them Patton, Ludlow. 1906. HUTCHINSON FAMILY SCRAPBOOK. Wadleigh Memorial to the next church on time. When giving Library, Milford, New Hampshire. concerts, Lillie, Jack, and Richard were billed Correspondence with Barbara Hazzard was simply as “the Hutchinson Family.” On quite helpful in preparing this paper. Barbara is evangelical occasions when Rev. Morgan a great-granddaughter of Lillie’s brother, was featured, the trio would sing and then Chapin Frank Phillips (ca. 1860-1915). he would preach. When they performed outdoors, Jack would blow a fanfare on his cornet to attract a crowd. Lillie played a portable organ that was fixed in the back of the wagon; and she and her boys sang everything from Mozart and Handel to senti- mental songs, such as “My Trundle Bed; or, Recollections of Childhood.” Though Lillie was a member of one of America’s most important and famous vocal groups, and though she was prominently

60 The Bulletin for the Society for American Music • Vol. XXVI, No. 2/3 The Advent of Music Festivals in Late 19th-Century Petersburg, Virginia

who founded the organization was tobacco up” for the first time on 17 October.9 The —Ethel Norris Haughton businessman Heinrich Noltenius, who opening of the Academy a few nights later Virginia State University directed the chorus of the PMC and later featured a performance by Ford’s Comedy became the major catalyst for the festivals. Combination Troupe, of Ford’s Opera On the evening of Tuesday, 27 May 1884, The objectives of the PMC were to practice House in Baltimore. After its opening, the the sounds of “Old Hundred” sung by an and perform instrumental and vocal music, Academy lay idle until December when the unaccompanied chorus, first joined by the and to elevate “taste for good and especially PMC presented its second entertainment of audience and then by “the swelling classical music.”4 The club maintained a the season there. This was followed by harmony”1 of an orchestra, inaugurated private status and included in its by-laws an performances by pianist Thomas Green what was to become a series of eight annual article declaring that “No public concerts “Blind Tom” Bethune, the Duprez and music festivals held in Petersburg, Virginia. shall be given by the Club except by the Benedict Minstrel Troupe, the Theodore As explained by a local reporter, the 1884 decision of four-fifths of the members Thomas Orchestra, the Peak Family Classical festival “was the ripe and luscious fruit of present.”5 The PMC concerts held at and Comical Concerts and Original Swiss success plucked from the sturdy tree Bell Ringers, the Bernard-Richings of earnest and intelligent prepara- Opera Troupe, the Berger Swiss Bell tion.”2 The direct preparation for the As explained by a local reporter, Ringers, and Skiff and Gaylord’s festival was the work of The Minstrel Company. Drama was Petersburg Musical Association the 1884 festival “was the ripe provided by Junious Brutus Booth (PMA), founded by prominent white and luscious fruit of success and his company. Ironically, the first residents of the city in August 1881. season of the Academy was the final But, the cultivation of musical plucked from the sturdy tree season for the PMC due to the pursuits that culminated in these of earnest and demanding schedule of its director. grand occasions dated back to the During its early years, the years just after the Civil War. intelligent preparation.” Academy of Music hosted violinist Before the war, Petersburg was the Ole Bull, various opera troupes, the seventh largest city in the South, Mendelssohn Quintette Club, a complete with successful factories, private Mechanics’ Hall proved the desire for music second appearance by pianist Thomas businesses, railroads, and river trading. of good quality and helped to define the Greene “Blind Tom” Bethune, and local These attributes caused the city to become requirements of a new hall. talent. But, it also had on its stage other a strategic target for the Union army. In June 1870 a committee formed by local kinds of entertainment, such as minstrel and Petersburg fell after having withstood a ten- businessmen announced that an Academy pantomime troupes, wizards, and novelty month siege. Within a week, the war was of Music, the construction of which would troupes (complete with acrobatics and ball over and the long road to rebuilding the cost about twenty-five thousand dollars, tossing), and Buffalo Bill. In October 1879, South began. Petersburg never regained its would be completed by the end of the year. the members of the PMC were called former prominence and, yet, the cultural The planners soon realized that the project together for the purpose of reorganizing and aspirations of its residents—black and white would take longer to complete. The brick returning to the task of overseeing the alike—were boundless. For economic, polit- building was to be 57 feet by 135 feet, with “musical elevation” of the city. With ical, social, and racial reasons, the story of the “audience room, composing the dress Noltenius and his family on a one-year visit the festivals is that of “higher class” white circle, parquette and musicians’ stand”6 to Europe, the leadership of the new orga- residents of the city. measuring 54 feet by 52 feet. Side entrances nization fell to a young Antonia Dickson, a Within three months of the war’s end, led to the colored gallery, first gallery, and native of Scotland who had recently moved articles appeared in the local paper calling dress circle. The seating capacity would be to Petersburg. The local press supported the for a public hall that could adequately host between seven hundred and fifty to one venture by stating that “efforts for the “an opera worthy of the name, a theatrical thousand. By March 1871, the stockholders advancement of cultivation of what is pure exhibition above the ridiculous, or a concert of the Academy were forced to borrow ten in art, should receive the commendations offering any inducements to cultivated thousand dollars to complete its construc- of every true musician and the patronage tastes.”3 Attempts made to answer this call tion. Public concern grew and the local of our people.”10 One major difference were intensified when Phoenix Hall, one of press called the incomplete structure “a between this new organization—called the the city’s two halls, was destroyed by fire in standing disgrace to Petersburg.”7 In Mendelssohn Musical Association—and the November 1866. The remaining hall, September, the directors entered into a deed old PMC seems to have been that atten- Mechanics’ Hall, even with needed repairs, of trust to secure ten thousand dollars with dance at concerts of the former was not was not deemed suitable. Amid concerns the agreement that the Academy would be restricted to members. When the about a proper facility came the founding sold at public auction in the event of default Mendelssohn ceased its meetings for the of the Petersburg Musical Club (PMC) in of the payment of notes.8 Still not quite season, it was never active again. 1868. Of the five women and three men complete, the Academy of Music was “lit continued on page 62

The Bulletin for the Society for American Music • Vol. XXVI, No. 2/3 61 “Advent” continued from page 61 discussed the introduction of vocal music to listen to mere “tunes;” mere sing-song in public schools. compositions fail to satisfy their musical By the summer of 1881, public desire for As part of the hospitality shown to the palate which, by degrees, has become more a regular series of concerts led to the orga- convention delegates, the PMA planned fastidious and finds but little taste in aught nization of the Petersburg Musical choral concerts, organ recitals, and concerts but material well seasoned and well Association (PMA) by twenty-one men, by local and professional solo artists alike. served.17 among whom was Noltenius. The object of The total cost of the programs for the 1882 Other proof of local interest in the festi- the PMA was to encourage the culture of convention was six hundred dollars.13 At the val is the response to ticket sales, with the music in our community by giving annually 1883 convention, Noltenius recommended first day of sales ending with more than from October to June, a series of entertain- that the choruses of the individual associa- one-third of the seats in the Academy ments—probably eight or ten—at which tions perform with the professional artists having been taken. Petersburgers also our best home talent will assist, and for engaged during the regular concert season eagerly offered to afford every amenity which artists form other parts—both vocal so that they might develop their musical imaginable to visitors who would be in the and instrumental—will be engaged, as far skills. Selected choruses would, then, create city for the festival. From the beginning, the as the means placed at the disposal of the “one grand chorus which might render festival was looked upon as more than association will permit.11 oratorios, accompanied by the best orches- culturally enriching: The PMA had two categories of membership. Regular members, who It will be a feast of soul as well as of paid an annual membership and a It will be a feast of soul music. It will bind closer ties of monthly fee, had voting privileges friendship already existing, and will be 18 and received three tickets for each as well as of music. instrumental in forming new ones. concert given during the season. It will bind closer ties Although North Carolina was Contributing members, who paid a represented at the convention, only monthly fee, received two tickets for of friendship already existing, Virginia was represented at the festi- each concert. Single tickets were sold val. The choruses that joined with if space in the Academy allowed. and will be instrumental the PMA chorus to form a chorus of The artists presented during the in forming new ones. 150 to 175 voices were the Mozart Academy’s first season included Association and Concordia Glee pianist William H. Sherwood, violin- —Daily Index-Appeal, 22 May 1884 Club of Lynchburg, the St. Cecilia ist Teresa Liebe (with her brother, Society of Norfolk, and the cellist Theodore Liebe), harpist Madame tras and under the leadership of acknowl- Gesangverein Virginia of Richmond. The Chatterton-Bohrer, the Royal Hand Bell edged masters.”14 After some discussion of orchestra, under the direction of H. R. Ringers, pianist and former director of the this idea, the delegates decided Palmer, numbered twenty-four. Vocal Mendelssohn Musical Association Antonia soloists engaged for the opening concert Dickson, and the chorus of the PMA At the That the several choruses shall render their were Zelie de Lussan, soprano, and Ivan end of the season, the PMA held a Music compositions selected for the benefit of all, Morawski, baritone, who were accompa- Convention to include representatives of at annual conventions in which all the nied by pianist George W. Colby. other musical organizations in Virginia. choruses shall be united in one grand chorus Instrumental soloists were H. Singerhoff, Fourteen delegates, representing Petersburg, for the rendering of musical works, both violin, and Theodore Hoch, cornet. With Richmond, Lynchburg, and Norfolk, met to secular and sacred, under the leadership of some eminent conductor and accompanied the exception of the Gesangverein Virginia, devise some plan of concerted action by the very best orchestra, and thus the way each of the choruses was featured individ- whereby the best interests of their respec- may be paved for the holding of annual ually on the program. tive associations could be served in the music festivals on a scale which may For this opening concert, the Academy was matter of engaging artists to assist in the vari- favorably compare with those held in the transformed into what, but for the pink ous concerts given by the societies, and to North, East, and West.15 promote the general welfare of musical background, one might designate as a forest interests in the cities represented.12 In October 1883, the Board of Directors scene. A huge roof serving as a sounding The number of delegates at the 1883 of the PMA assumed the task of presenting board covers the stage[.] By skillful and convention rose to eighteen, with Farmville a festival the following spring in the “fullest tasteful arrangement this roof is made to appear as a sky at night, fleecy clouds added to the list of Virginia cities repre- confidence” that the citizens of Petersburg floating in space, while stars and the circle sented. Invitations extended to music asso- would contribute to a guarantee fund and of the moon glitters among these.19 ciations in North Carolina were met with provide housing for festival participants.16 great interest, but also with regrets of being The citizens more than met the Board’s The elaborate decorations also included unable to participate. By 1884, associations expectations by financing a guarantee fund scenery, a pink background with a golden from both Virginia and North Carolina sent in the amount of ten thousand dollars. John lyre, monogram initials of the PMA on the delegates to the conventions. In addition to Q. Jackson, president of the PMA, credited proscenium arch, and bountiful stands and planning a cooperative effort among the the support to the musical education baskets of flowers and potted plants. associations to engage professional artists provided by the association. Because of this, The festival events continued the next at manageable costs, convention delegates Petersburg’s citizens were no longer content afternoon with an organ recital at a local

62 The Bulletin for the Society for American Music • Vol. XXVI, No. 2/3 church by Frederic Archer who was joined sympathy more than all the diplomacies of Notes the political parties. The revival of musical 1. Daily Index-Appeal, 28 May 1884. by vocalists and a harpist. That evening, a interests in that section shows that the south second concert was performed at the 2. Daily Index-Appeal, 30 May 1884. is rapidly emerging from the somberness of 3. The Daily Index, 25 Oct. 1865. Academy by the orchestra and choruses, the past, and regaining her old-time delight 4. Constitution and By-Laws of The joined by Hoch, cornet, Frederick Lax, flute, in social and artistic life. That her people 20 Petersburg Musical Club (Petersburg, Va.: J. E. Courtney, tenor, and Sherwin, soprano. have time and inclination to restore the Routh & Co., 1868; Centre Hill Mansion, Thursday’s afternoon concert included amusements and pleasures of which they Petersburg, Va.), 3. instrumental and vocal solos and ensem- were such famous devotees in the old days 5. Petersburg Musical Club Constitution, 8. 23 bles, and the Petersburg chorus. is a most cheerful sign. 6. The Petersburg Index, 23 Aug. 1870. The final concert, which opened with a 7. The Petersburg Index, 2 Aug. 1871. performance of Mendelssohn’s “95th Psalm” The 1890 festival was a success despite 8. Deed Book No. 33, p. 685; City Clerk’s by the united chorus, equaled the opening competition with other musical events: Office, Petersburg, Va. concert both in musical quality and visual Richmond held its first May Festival in the 9. The Daily Progress, 18 Oct. 1871. spectacle. Before the performance of the early part of the month, and North Carolina 10. Petersburg Index-Appeal, 21 Nov. 1879. final chorus of the evening, Noltenius came was preparing for its first festival. A major before the audience to express his appre- conflict with the third day of the festival was 11. Daily Index-Appeal, 10 Sept. 1881. ciation to the performers. As he tried to the unveiling of the Robert E. Lee monu- 12. Daily Index-Appeal, 1 June 1882. leave the stage, a spontaneous ovation ment in Richmond; festival planners allowed 13. Daily Index-Appeal, 7 May 1883. erupted. for this by not scheduling an afternoon 14. Daily Index-Appeal, 30 May 1883. 24 Cries of “Noltenius” sounded upon every recital on that day. But, the festival still 15. Daily Index-Appeal, 30 May 1883. side and when Dr. Palmer fairly drew that managed to be a success. The impact of the 16. Petersburg Musical Association Records, gentleman upon the stage there came a festivals was felt when the possibility of the 26 Oct. 1883. round of applause and clapping of hands cancellation of the festival in 1891 was 17. Daily Index-Appeal, 10 June 1884. and there was a sea of waving handkerchiefs announced. The outcry over this possibil- 18. Daily Index-Appeal, 22 May 1884. in front of and on the stage. Dr. Palmer ity caused the PMA Board to revisit the idea. 19. Daily Index-Appeal, 27 May 1884. proposed “Three cheers for Mr. Noltenius” What became the final of the “annual jolli- 20. Daily Index-Appeal, 29 May 1884. Hoch and they were given with a hearty good will. fications” smaller than its predecessors and substituted for pianist Julie Rive-King who was Then some gentleman in the audience, fired was only hesitantly referred to as a festival to have been the featured performer, but who by the spirit of the moment, cried out again, was unable to appear because her husband because of its small scale. was ill. She was also scheduled to perform on “Three cheers for Noltenius,” and they rang The sounds of “Old Hundred” that rang the afternoon concert the next day. out with undiminished force.21 through the Academy of Music on 27 May 21. Daily Index-Appeal, 30 May 1884. 1884 initiated a grand era for a city that had This acknowledgment of Noltenius 22. The fund grew to $10,150 by early April. suffered the loss of its prominence and its merely hints at his influence on the succeed- 23. Reprinted in the Daily Index-Appeal, 8 economic status. Without doubt, the festi- ing festivals. In January 1885, Noltenius led May 1889. vals demonstrated the strong desire of the effort to keep the festival alive after the 24. This unveiling attracted thousands of Petersburg’s citizens for music of good qual- plan of the convention delegates to hold the people. Civil war veterans alone numbered ity. But, the story of the festivals goes well 10,000 to 15,000. event in Norfolk went awry. A committee beyond purely musical interests. The of three members of the PMA Board grandeur of the 1884 Festival and those that successfully raised a guarantee fund in the followed, provided the white citizens of amount of seven thousand two hundred Petersburg, especially those on the higher dollars and plans for a festival superior to rungs of the social ladder, the opportunity the first one began.22 to reclaim a small piece of antebellum glory. The 1885 festival started a tradition that helped to ensure the success of the events— A native of Petersburg, Virginia, Ethel the engaging of Carl Zerrahn as festival Norris Haughton wrote her 1994 dissertation conductor. The musical and financial on “Music in the Black and White successes of the 1885 festival were repeated communities in Petersburg, Virginia, 1865 - at each festival from 1886 to 1890. The 1900.” She is currently Associate Professior of newly renovated Academy of Music, which Music at Virginia State University. She had been purchased by the PMA in 1887, continues to research music in the history of engendered additional interest in the event. Petersburg and VSU. The 1889 festival attracted more out-of-state attention than any of its predecessors. The Washington Post found a political side to the story: This is a sort of move in the solid south that is calculated to do more good and advance southern interests, and promote northern

The Bulletin for the Society for American Music • Vol. XXVI, No. 2/3 63 NEWS OF THE SOCIETY

Letter from the President are you doing with all of your newfound As always, thanks to the Board, commit- space?? Again, we thank you both for your tee chairs and members for their hard work Greetings! Did you attend the Charleston many years of devoted service to the and dedicated service to the Society. conference? By all accounts, it was an over- Society. With this move, the Society begins Best, whelming success! Thank you and congrat- a new era. The fall meeting of the Board will ulations to all of those involved in the plan- be held for the first time in our new national ning process. We had one of the largest office in Pittsburgh—not in the Kellers’ living gatherings ever and the quality of papers room!!! Rae Linda Brown and performances were stellar. Special grat- The Board is very excited about all of the itude goes to Paul Wells, Program Chair, and new SAM initiatives and we hope the Letter from the Editor the Program Committee (Rebecca Cureau, membership is as well. It has become appar- Nancy Ping-Robbins, Larry Worster, and ent, however, that the Society needs to Dear Readers, Douglas Moore) for the wonderfully diverse increase its revenue. How do we build up This will be my last letter from the editor program, which celebrated and embraced the resources that the society needs to as I am retiring as editor of the Bulletin to with enthusiasm all aspects of American undertake all of the new activity we have pursue other responsibilities. I am sure that music. Special thanks goes also to Kitty deemed necessary? (For example, imple- you have already noticed that this is a Keller and Jim Hines who oversaw every mentation of the Long Range Plan, the hiring combined Summer/Fall issue, necessitated detail of the local arrangements. I think we of a new Executive Director, and the main- by my assumption of greater-than-antici- might all agree that our stay in Charleston tenance of a national office.) The Board has pated duties as the chair of an expanding was close to perfect. discussed and will continue to discuss this music department. Thank you for under- As I write this, our new Executive pressing issue. Increasing revenue is never standing the delay in the Summer issue. Director, Mariana Whitmer, has taken over an easy task and we will need to take My four years as editor have been most for Kitty Keller, who has officially retired. several approaches. Our dues have been gratifying. I want to recognize all of the (Kitty is still busy with numerous SAM activ- held at the same level for a few years but members of the Society who have given me ities, however!). Mariana lives in Pittsburgh we will now need to increase them slightly. their support, suggestions, submissions, and and has been working with Deane Root on In addition, we will begin a development ideas; you are the lifeblood of this publica- the “Voices Across Time” project. She has a campaign about which you will hear more tion and I thank you. I also thank the fine Ph.D. in musicology from the University of in the future. We need to be proactive, supporting editors who have made my job Chicago and has presented papers and writ- aggressive, and creative in our efforts to easy: Ann Sears, Sherrill Martin, William ten articles on Bruckner—the subject of her infuse the Society with funds in order to Kearns, Joice Waterhouse Gibson, Petra dissertation. Mariana brings exceptional continue our dynamic activities. We would Meyer-Frazier, Orly Krasner, Jim Farrington, administrative skills to this position. For ten like to endow awards (the Dissertation and and Amy Beal. Two of these deserve far years, she worked at IBM where she devel- Student Travel Awards, for example); gifts more credit than I can possibly acknowl- oped skills in financial and strategic plan- of any kind and any amount will be put to edge here: Joice Gibson, who worked tire- ning. She also has an in-depth knowledge good use. If you have any ideas or would lessly as my copy editor and consultant in of computers—networking, databases, the like to be involved in these efforts, please all matters, and Bill Kearns, my mentor and Internet, and experience with spreadsheets, contact Jim Cassaro, Chair of the best friend. desktop publishing, and graphics. In addi- Development Committee. Replacing me will be Phil Todd, whom tion to the “Voice Across Time” project, Finally, I would like to extend a huge many of you may know as the co-chair of Mariana serves as an early childhood music “thanks” to Larry Worster who has edited the Popular Music Interest Group. I specialist and co-chairperson of the the Bulletin for the past four years. Larry, welcome Phil as the new editor and encour- Pittsburgh Kindermusik Educators who is stepping down to pursue other age the members of the Society to direct Association. SAM is indeed fortunate to have career challenges, has completely trans- your communications his way. His infor- Mariana as our new Executive Director and formed the look of the Bulletin. It is now a mation is listed in the Editors box on the we look forward to many years working very professional publication with the high- second page of this issue. together. est standards in layout, writing, and editor- Don’t be modest about sending in your About a month ago, Kitty and Bob Keller ial style. The Bulletin and American Music announcements for the Members in the transferred the SAM Executive Director files are the very public faces of the Society for News Department. As you might note, we from their home to SAM’s new national American Music nationally and interna- have several dozen members who are not, office at the University of Pittsburgh. Our tionally and through them the Society can but around a thousand who are! Your new address is: Society for American Music, boast of its efforts to promote American colleagues want to know what you are 1709 Cathedral of Learning, University of music scholarship and performance activ- doing. Please remember that inquiries Pittsburgh, Pittsburgh, PA 15260. Thanks ity. Larry, we appreciate your hard work concerning research topics and other spec- again to Deane Root for pursuing this initia- and dedication these past several years. ulative matters may be published in the tive on behalf of SAM! Kitty and Bob, what

64 The Bulletin for the Society for American Music • Vol. XXVI, No. 2/3 most underused department of the Bulletin, of “Voices across Time,” a project of the From the Executive Director Hue and Cry. Society for American Music. This innovative The new office of the Society has recently Each issue of the Bulletin is placed online curriculum uses music as a primary source opened on the 17th floor of the Cathedral approximately three weeks after it appears for teaching American History and is of Learning on the campus of the University in your mailboxes. Please note that the currently being piloted throughout the of Pittsburgh. “In steel and stone, in char- Society’s Web address has changed to United States. She has a native knowledge acter and thought, they shall find beauty, www.american-music.org. If you have of Spanish, good command of French and adventure, and moments of high victory.” suggestions as to how the Bulletin may be German, and a reading knowledge of With these words University of Pittsburgh best presented in its Web configuration, Italian. Whitmer is a member of the presti- Chancellor John Bowman declared his please address them to me. gious Mendelssohn Choir of Pittsburg and hopes for the inhabitants of the Cathedral The Bulletin is your voice to the world enjoys playing the piano and flute when not when it was completed in 1937, and I’m and the world’s window on the Society. caring for her two young children. sure we will all endeavor to realize those Don’t forget that the deadlines for Bulletin She says of her appointment, “With the hopes. submissions are announced on page two of escalating interest in American music, the The Cathedral of Learning culled its name this publication. Please expect a two-month Society is poised to serve the needs of from the “The Cathedral of Commerce,” the lag time between the submission deadline current and new members, particularly Woolworth Building in New York City, the and the publication date. Plan ahead so that through the implementation of the new first monumental Gothic skyscraper. The your announcements may be published in website and the opening of the office on title “cathedral,” with its allusion to a higher a timely fashion. the campus of the University of Pittsburgh. calling, was thought to have wide public —Larry Worster I am looking forward to working with all appeal and didn’t fail in calling attention to current and new members of the Society as both the Cathedral of Learning and the we work together to stimulate the appreci- New Executive Director University of Pittsburgh, particularly during ation of American music.” and New Headquarters times of fund raising. The Cathedral was built in homage to education and designed Mariana Sonntag Whitmer has been to simulate the gothic style. Building was appointed the new Executive Director of begun in 1926 and it officially opened 11 the Society for American Music (formerly years later, 1937. Originally intended as the The Sonneck Society). Whitmer will work main building for the University, its 42 floors with President Rae Linda Brown and the housed not only classrooms and offices, but other ten members of the Board to carry out libraries, reading rooms, and a cafeteria. It the Society’s mission. Whitmer will be was built high to allow for maximum occu- responsible for maintaining the business pancy on minimum acreage. Reportedly office and records of the Society to provide designed with inspiration from Wagner’s continuity, and to help coordinate Society Magic Fire music from “The Valkyrie,” it is business. Her primary role will be assisting not so much the height of the building but in the execution of the goals of the Society, the composition of the buttresses that reflect providing a focal point for Society business, the seemingly never-ending climaxes in the and serving as official greeter for new music as they rise ever higher in “leaps.” members. The new office in the Cathedral of Whitmer brings to the Society a diverse Learning is an ideal location to attend to the backround, experienced in musical as well duties of Executive Director as it provides as business concerns. Her academic creden- an impressive focal point for Society busi- tials include a B.A. in Musicology from the ness. Many thanks to Deane Root, who University of Southern California in 1978, Whitmer will be managing the new office arranged for our use of the space. I look and a Ph.D. in Historical Musicology from of the Society located at the University of forward to working in close proximity to the University of Chicago in 1987. She devel- Pittsburgh. The new address of the SAM Deane and the Center for American Music, oped outstanding people management and office is 1709 Cathedral of Learning, which is located next to the Cathedral in the communication skills, excellent presenta- University of Pittsburgh, Pittsburgh, PA Stephen Foster Memorial. tion abilities, and extensive computer expe- 15260; and the telephone number is The Society for American Music has a rience while working at IBM Corporation 421/624-3031. The website for the Society new home and so have I. As the Society has from 1985-1996, where she managed a team for American Music is www.American- been re-located to a new physical space, so of technical and marketing specialists in Music.org. Information regarding email to have I found a new symbolic “home”; a corporate sales. the Society office as well as membership place where I feel at ease in the company Since March 1966 she has worked as an may be obained via the website. of scholars whose interests are similar to Early Childhood Music Specialist, instilling Upcoming activities of the Society for mine. Although my doctorate was earned a love of music in children ranging in ages American Music include participation in the with research on Anton Bruckner, my from birth to seven years. In January 1999, annual conferences in “Port of Spain, current work on “Voices Across Time,” a she began working as a consultant with Trinidad” with the Center for Black Music project of the Society, has turned my head Deane Root, member and former President Research, 23-26 May 2001; and Lexington, of the Society, in assisting in the realization Kentucky, 6-10 March 2002. continued on page 66

The Bulletin for the Society for American Music • Vol. XXVI, No. 2/3 65 “News of the Society” continued from page 65 ideas. Second, the SAM Board had decided that many of the student members are non- and I may never look back. This is an excit- in Kansas City to meet in Charleston despite traditional students: individuals who are ing time to be working in American music the NAACP call for a boycott of South coming to musicology from other careers. as there is an ever-increasing interest in its Carolina (because of the practice of flying She introduced Renée Camus as the new study and performance. It is a vibrant yet the Confederate battle flag on the State capi- chair of the new IG. challenging time as we seek new initiatives tol). The Board had sent a statement in Deane Root, chair of the Education to stimulate enthusiasm for and education support of the boycott to the governor of Committee, described an important SAM- in American music in all of its diverse and SC. Brown mentioned that she had received sponsored project called Voices Across Time interesting guises. My interest in American numerous messages on this issue from soci- that has been funded by $160,000 in foun- music was reaffirmed at the recent confer- ety members. Some have honored the dation grants since it began in 1998. This ence in Charleston where I met so many boycott; others believe that the Society project, which is designed to provide mate- wonderful people, heard such fascinating should not become involved in politics. rials on American music to teachers in papers, and listened to a variety of intrigu- There will be letters pro and con this in the elementary and secondary schools, will ing music. spring Bulletin. Brown believes that the fulfill a major goal in the Society’s Five-Year We have taken recent changes in stride, Society is now large enough that we cannot plan: that every child in an American school but there are others I would not like to see. pretend to have no impact and therefore should have the opportunity to learn about Let us not alter the spirit of camaraderie must take a stand on such issues as this. Our American Music. The expected completion within the Society, the warmth of enthusi- presence in Charleston—coupled with the date is 2001. Root will publish a report on asm for all things related to American music, program we are offering—stands as a the project in the Bulletin. and the genuine encouragement offered to contradiction to divisiveness. We support American Music editor Rob Walser noted new members of the Society, who I hope the whole of American music and its diver- that it had been a great year for the journal. will find this their home as well. May we all sity. He announced that he had completed 7 find “beauty, adventure, and moments of A moment of silence was observed for issues in 15 months and that currently the high victory” together. departed members, including Norbert journal is only one issue behind. He I close by extending a heartfelt thanks to Carnovale, Mort Epstein, and Carolyn Lott. solicited more articles on 18th- and 19th- Kitty Keller who is working very hard to see century American music. Five issues are in that I ease into my new position undaunted Reports press; most of his remaining six issues are by the responsibilities which she has shoul- in process. He thanked his advisory board dered so well for so long. A summary of the Treasurer’s Report was and the numerous readers for their help. —Mariana Whitmer distributed by Bill Everett. He reported that The new editor of the journal should take his report reflects numerous one-time over the task of acquisitions by September Annual Business Meeting expenses for the past year, but that it also 2000; Walser will be occupied with proof- clearly indicates steady growth from previ- ing and so forth for another year and half. The annual business meeting of the ous years. He noted that the Society had Walser thanked Susan Key, outgoing book Society for American Music was held on awarded $1400 this year to support student review editor, and solicited nominations for Saturday, 4 March 2000 at the Mills House attendance at the conference. The report an individual to fill that position. Incoming Hotel in Charleston, South Carolina. The was accepted by the membership. members of the Advisory Board include minutes from the 1999 meeting were Judith Tick, who requested permission Kyra Gaunt, Ralph Locke, H. Wiley accepted. President Rae Linda Brown, in to speak, announced circulation of a peti- Hitchcock, and David Brackett. Assistant her remarks to the membership, made two tion requesting removal of the Confederate editor Glenn Pillsbury is also leaving the important announcements: (1) the Society, flag from the State Capitol. The petition, journal; the new assistant editor is Charles after conducting a national search, has hired circulated by Alexia Smith Seeger, Mike Garrett. Walser thanked his home institu- Mariana Whitmer, a music historian (Ph.D, Seeger, and Judith Tick, will go to the gover- tion (UCLA) for its generous financial University of Chicago) as our new execu- nor of South Carolina, who favors removal support of the journal. tive director (succeeding the retiring Kate of the flag. Tick also solicited contributions Bulletin editor Larry Worster chided van Winkle Keller); she will begin work in for the Charleston Chapter of the NAACP. members for not sending in acknowledge- July 2000, and (2) the Society has accepted Nominating Committee Chair Ann Sears ments of their own work. He noted that arti- a generous offer from the University of thanked the members of her committee. She cles are coming in steadily. The spring issue Pittsburgh (made through the efforts of announced that Katherine Preston (unop- will be out soon; summer is being planned. Deane Root) to establish a permanent posed) was reelected Secretary, that Michael Book Editor Sherrill Martin is stepping national office there. The address will be Broyles and Linda Pohly were new down; she will be replaced by Petra Meyer- 1709 Cathedral of Learning, University of Members-at-Large of the Board, and that Frasier. Bill Kearns is resigning as the bibli- Pittsburgh, Pittsburgh, Pennsylvania. Brown Paul Wells is President-Elect. ographer of recent articles; Joice Gibson will turned her attention to two sobering issues. Christina Baade, chair of the Student take that position. Indexer Jim Farrington is First, that the Society’s increased visibility Interest Group (formerly the Student also leaving; his job will be taken on by Amy and expansion comes with a price, and that Committee) noted that there are forty-four Beal. we will soon be launching a serious devel- students in attendance at the conference, of Brown announced that those interested opment campaign. Brown introduced Jim whom fifteen gave papers. She thanked the in applying for the position of editor of Cassaro as the new chair of the members of SAM for their on-going gener- American Music should send letters of appli- Development Committee and solicited ous support of students. She further noted cation and curricula vitae to Anne Dhu

66 The Bulletin for the Society for American Music • Vol. XXVI, No. 2/3 McLucas, Dean of the School of Music at the updating our ideas, removing some too- Honors and Awards University of Oregon by 1 June. The search specific language that unnecessarily George Keck, chair of the Honors and committee will consist of Tucker, Worster, hampers the Board. There was discussion Awards Committee, presented the 2000 Walser, Cockrell, and McLucas. about the time limitation on student Lowens (Book) Award to Adrienne Fried Those interested in applying for editor- memberships, which language was struck. Block for Amy Beach, Passionate Victorian: ship of the Bulletin should also send appli- Also in reference to student members, the The Life and Works of an American cations to McLucas, although she is not chair term “in active pursuit” was substituted for Composer, 1867-1944 (Oxford University of the committee. The responsibilities will “in residence.” A motion was made to Press, 1999). Keck also announced, with commence with Spring 2001 issue. Qualified amend the wording of article XI regret and apologies, that the committee for candidates should have editorial experience, (Amendments) to read as follows: the Lowens (Article) Award had been demonstrated ability to interact diplomati- These bylaws may be altered, amended, unable to complete its work in time, so there cally with individuals, and a strong back- or replaced, and new bylaws may be will be no award at this meeting. The ground in American music studies. adopted, by a two-thirds majority vote at winner will be announced in the near future Vice President Mark Tucker introduced any meeting of the Board of Trustees, in as public a forum as possible. the Long Range Plan, which has been subject to ratification by the members of the Catherine Smith, a member of the disser- drafted over the last 14 months. The first real Society by a two-thirds majority of members tation committee, named Mark DeWitt (on meeting of the committee was in January voting. Ballots may be cast in person or by the topic of Cajun Zydeco) and Gillian 1999. Ideas and suggestions were solicited official signed proxy during a meeting at Rodgers (on male impersonation), as recip- of the membership over the summer and which there is a quorum present, provided ients of Honorable Mention. Smith the committee met in Kansas City in that notice of such meeting indicates that presented the award to David Anthony Ake September to draft a document that was an amendment or amendments of the of UCLA, for a dissertation titled “Being accepted by the Board in November 1999. bylaws will be acted upon at the meeting Jazz,” which is under contract with UC Press. This document, on which the members and indicates the general nature of the Josephine Wright, chair of the Lifetime were to vote, had been distributed by mail proposed amendment or amendments. Achievement award committee, read a to the members. The current plan is a docu- The members voted to approve this lengthy laudatory statement concerning the ment that incorporates and expands upon amendment without alteration. The entire work and career of Eileen Southern, the the earlier (Five-Year) Plan. In the ensuing Long Range Plan was approved by the recipient of the award. Southern, who was discussion, reservations were expressed members. unable to be in Charleston, had already about the encouragement of round tables In response to an inquiry from the floor, been presented with the plaque. Members and panels in our conference programs, on Brown responded that the Society is not of the Society were being asked to sign (in the basis that many universities do not becoming a political organization and that Charleston) a remembrance book for her. consider such to merit travel support. our mission has not changed. There are President Brown read a citation written McLucas responded that this issue had been times, however, when we must be sensitive by Dale Cockrell to the recipient of the discussed but that the Committee is never- to what is going on around us. The Board, Distinguished Service Award, Deane L. Root, theless strongly in support of such formats. as an elected body, needs to be able to who was both surprised and touched by the In response to a query about the apparent speak for the Society. award. proposed tripling of the dues, Brown The program committee for Charleston responded that the wording (concerning (Paul Wells, chair) was heartily thanked for “sustaining dues”) under Goal II, Action 2, an excellent program, as were Local Committee Chairs objective a is unclear. The membership Arrangements Committee Co-Chairs, Jim President Brown announced new chairs approved insertion of the word “sustaining” Hines and Kitty Keller, for all their work to of committees: Anne McLucas (SAM liaison before “member” at the ambiguous spot. make this conference happen. to ACLS), Denise von Glahn (RISM repre- There were other questions about wording Program chairs for upcoming confer- sentative), and Judy Tsou (chair of the that Jim Cassaro clarified. The members also ences, including Toronto (Katherine Interest Group Council). She also thanked voted on and approved the suggestion that Preston) and Trinidad (Johann Buis) retiring Board members David Nicholls and the full name of the Council of American encouraged attendance at these upcoming Jean Geil, and gave special thanks to retir- Music Education Organizations be used meetings. Preston described some of the ing past-president Anne Dhu McLucas. (Goal I, Action 3, objective c) instead of the highlights of Toronto 2000 (1-5 November Last but hardly least, she extended great acronym (CAMEO). At this point the 2000), which is shaping up nicely. and heartfelt thanks to retiring executive members voted on and approved the docu- Information about the conference can be director and woman-of-many-skills Kate van ment as a whole. seen on the conference website, Winkle Keller, who was presented with a Kate van Winkle Keller, chair of the by- http://www.utoronto.ca/conf2000/. Buis plaque, a remembrance book, and our laws revision committee, introduced the solicited paper abstracts for the Trinidad sincere best wishes. Jim Cassaro announced issue. Our by laws have not been revised conference (Memorial Day weekend, 2001), the establishment of a fund in her honor, for 25 years. Versions of the new by-laws the deadline for which is 10 September. Ron donations to which are solicited. were mailed to the entire membership; at Pen, Local Arrangements for the 2002 con- The meeting was adjourned by accla- the meeting copies of the original by-laws ference in Lexington, KY, spoke briefly mation. were distributed, with all the changes indi- about the delights of Kentucky. cated. The committee goal had been to clar- ify and clean up the by-laws, in part by continued on page 68

The Bulletin for the Society for American Music • Vol. XXVI, No. 2/3 67 “News of the Society” continued from page 67 of the “Live from Lincoln Center” TV series, the Canton Symphony (Ohio), 27 & 28 Members in the News and will be aired on PBS this November. January 2001 with the Waterbury Symphony Kirk is also the consultant for the MENC’s (Connecticut), 21April 2001 with the Cecilia Brauer appeared on a “Lost and series of teachers’ guides currently being Western Piedmont Symphony (Hickory, NC) Found” Episode on the History Channel that adapted from her book. In May she as well as future performances with the had a feature on “Ben Franklin and the presented a lecture at the Smithsonian’s Billings Symphony (Montana) and the Armonica,” the musical glass instrument that Museum of American History that was illus- Winston-Salem Piedmont Triad Symphony he invented in 1761. It was first aired on 24 trated by a performance on the “Gold in North Carolina. and 27 March, and will be seen on reruns Steinway” presented to Theodore Roosevelt during the year. David Runnion’s Serafino in the White House in 1903. Harry Eskew’s article “Shape-Note Trio has recorded the Op. 5 trio of Arthur Hymnody” has been published in volume On 11, 12, and 13 May 2000, Renée Foote. This is the first CD recording of the 8 of the revised edition of Die Musik in Camus performed her Masters Thesis work and can be heard (and the CD Geschichte und Gegenwart. Bunker Clark lecture/performance, “What Goes Around, purchased) at http://mp3.com/serafinotrio. published an article entitled “Creative Comes Around,” at American University in Continuo: or, Examples of Enlivening a At the annual meeting of the Music Washington, DC. The lecture/performance Figured Bass on the Harpsichord” in Library Association, held in Louisville, compared two dances, the Cancan and the Diapason, April 2000. Most of it consists of Kentucky, the 2000 Dena Epstein Award Charleston, and featured choreography an annotated bibliography on the subject, for Archival and Library Research in based on period sources. Ms. Camus grad- and nine examples of how to be “clever” American Music was granted to Jo Burgess uated on 14 May, receiving her Master of when in a Messiah orchestra, plus one from and Karen Rege. The award endowment Arts Degree in Dance. Bach’s 4th (flute) Orchestra Suite. Brian was established through a generous gift Sondra Wieland Howe is the Thompson is now the editor of from Morton and Dena Epstein to the Music Musicologist for the Minnesota High School Naxos.com. SAM members are most likely Library Association in 1995. Music Listening Contest, a program spon- familiar with Naxos’s successful American Susan C. Cook’s essay, “Watching Our sored by Minnesota Public Radio. She has Classics series. Gail Levin and Judith Tick Step: Embodying Research, Telling Stories,” written the Study Guide and produced three have authored Aaron Copland’s America: which deals with her on-going research on CDs for the 2001 Contest. A Cultural Perspective (New York: Watson ragtime dance and which just appeared in Guptill, 2000), the catalogue to an exhibi- The National Federation of Music Clubs Audible Traces: Gender, Identity, and Music tion of the same title that opened at the has given its year 2000 First Place award for (edited by Lydia Hamessley and Elaine Heckscher Museum in Long Island, 4 “The Promotion and Performance of Barkin. Zurich: Carciofoli Press, 1999: 177- November 2000. American Music” to Texas Christian 212), just received the Gertrude Lippincott University’s School of Music for its annual Deborah Hayes has recently published Award from the Society of Dance History American Music Week celebration, “New World Inspiration and Glanville- Scholars for the best article on dance Contemporary Music Festival, Jazz Festival, Hicks’s Opera Nausicaa (1961)” in Vistas published in 1999. and second biennial Latin American Music of American Music: Essays and As part of the award for being named a Festival, reports Michael Meckna. During Compositions in Honor of William K. Kearns Matthews Distinguished University Professor the period covered (June 1999 to May 2000), (Warren MI: Harmonie Park Press, 1999), at Northeastern University, Judith Tick has TCU musicians gave a total of 213 perfor- and a related discussion of Sappho (1963) organized “Copland at 100: Concerts, mances of works by 138 American in “‘A Poem By a Woman’s Hand’: The Symposia, Films,” which will be held at composers on 70 programs. Some 21 Greek Operas of Peggy Glanville-Hicks” in Northeastern University, Boston, 26 October composers were present for their perfor- Musics and Feminisms (Sydney: Australian 2000. A new work for piano, commissioned mances, and 13 works were given their Music Centre 1999). for the event from composer Libby Larson, premieres. In addition to concerts and will be premiered. Speakers include Carol recitals, 15 visiting artists and lecturers partic- J. Oja, Vivian Perlis, and Howard Pollack. ipated in seminars, workshops, or master classes. A Fulbright American Studies Fellowship has been awarded to Nassim Balestrini Teresa Conboy reports that New who will be spending the 2000/2001 acad- Century Saxophone Quartet premiered emic year at the University of California, Peter Schickele’s “New Century Suite” with Davis. Balestrini will be doing research on The North Carolina Symphony in Raleigh, opera libretti based on works by 22 & 23 September. The composer Washington Irving, Nathaniel Hawthorne, commented, “I was excited about the and Henry James. prospect of writing this concerto; even more Elise Kirk is the consultant for a docu- so after hearing the New Century mentary film based on her book, Musical Saxophone Quartet in concert, since they Highlights from the White House (Krieger, play so tastily and so terrifically in tune.” 1992). The film is being produced by John New Century will also perform the piece on Goberman and Sara Lukinson, producers the following dates: 19 November 2000 with

68 The Bulletin for the Society for American Music • Vol. XXVI, No. 2/3 BULLETIN BOARD

Lewis Spratlan Wins Apollo and Daphne Variations were Open Content Encyclopedia 2000 Pulitzer Prize in Music premiered on this tour and Penelope’s Knees Calls for Submissions was presented in Moscow’s Rachmaninoff Amherst College music professor Lewis About Music Hall under Emin Khatchatourian. Spratlan received this year’s Pulitzer Prize Life Is a Dream (published by G. A major new encyclopedia project, in music for Life Is a Dream, Opera in Three Schirmer) was premiered on 28 January Nupedia.com, requests expert help in Acts: Act Two, Concert Version, an excep- 2000, by Dinosaur Annex in Amherst, Mass. constructing an “open content” encyclope- tional work written twenty-two years ago The work was inspired by “a seventeenth- dia, planned to become the largest general as a commission for the New Haven Lyric century Spanish play written by Calderon encyclopedia in history. The project has Opera, but only performed this year. It was de la Barca” and makes use of traditional significant financial support, and its leaders “a complete surprise . . . I didn’t have an operatic themes of “family, politics, and and owners are committed to a years-long, inkling, didn’t even know the prizes were murder,” according to Molly S. Delano intensive effort—to founding an open, going to be awarded,” Spratlan reported to (Daily Hampshire Gazette, 11 April 2000). public institution. Linton Weeks of the Washington Post (11 The story’s main character, Prince If you are an expert in any subject, your April 2000). The award was given to Segmundo, is exiled by his father who fears participation in the project will be welcome. his son’s ascendency to the throne. On hear- They are in need of well-qualified writers, ing the work, music critic Richard Dyer editors, and peer reviewers, and will be (Boston Globe, 22 April 2000) “was struck doing searches for subject area editors. by the sheer theatricality of the music,” Moreover, if you are a good writer and when he heard it performed. The “music is researcher, you may be interested in brainy, heartfelt, and communicative.” contributing short biographies, descriptions Following the awards lunch, George of works, and other brief entries. Rupp, President of Columbia University, What does it mean to say the encyclo- introduced Spratlan and described the pedia is “open content”? This means that composer’s work as “superb vocal and anyone can use content taken from Nupedia orchestral imagination.” Spratlan was then articles for almost any purpose, both for- called to the podium to accept his prize, and profit or non-profit, so long as Nupedia is beamed with delight as the audience of credited as the source and so long as the fellow honorees and guests applauded him. distributor of the information does not Congratulations to Maestro Spratlan! attempt to restrict others from distributing —James R. Heintze the same information. Nupedia will be American University “open content” in the same way that Linux and the Open Directory Project (dmoz.com) are “open source.” As has been the case with those projects, they plan to attract a Spratlan on 22 May 2000 at Columbia Research Opportunities huge body of talented contributors. University, the site for this year’s awards in the NEH Summer Stipends If you want to join the project or stay luncheon. The composer shared honors Program apprised of the progress of Nupedia, you with twenty other Pulitzer winners, drawn The National Endowment for the can go to the Nupedia website at from the fields of journalism, letters, and Humanities (NEH) Summer Stipends http://www.nupedia.com/ and become a drama. program supports two months of full-time member. (Becoming a member is free.) Spratlan, a native of Miami, was a student research on a project that will make a signif- of Mel Powell and Gunther Schuller at Yale. icant contribution to the humanities with an He taught and conducted at Tanglewood, award of $4,000. Although regular faculty the Yale Summer School of Music, and American Music members of colleges and universities must Amherst College. His music has been widely Education Initiative be nominated by their institutions, and each performed throughout the United States and institution may nominate a maximum of two The AMEI is a program designed to Europe. He has received commissions and applicants, independent scholars and recognize and support teachers who use premieres from the Boston Musica Viva, adjunct faculty may apply for these grants American music in their classrooms. The Springfield Symphony Orchestra, Lydian without nomination. Information may be AMEI is open to teachers of any subject, in String Quartet, and the Koussevitzky Music obtained at http://www.neh.gov or by any grade K-12, and in any academic setting. Foundation, among others. Of particular contacting NEH at [email protected] or at Teachers are invited to submit lesson merit is the composer’s tour of Russia and 202-606-8200. plans that use American music. The plans Armenia as a guest of the Soviet Composers’ are reviewed and evaluated by a distin- Union. Toccapsody, for solo piano, and continued on page 70

The Bulletin for the Society for American Music • Vol. XXVI, No. 2/3 69 “Bulletin Board” continued from page 69 Society for American Music Awards guished panel of judges. The judges select exceptional plans for one of three award levels: Finalist, Semi-finalist and Honorable Lowens Memorial Book Candidates should send three copies of Mention. Finalist teachers receive grants of the following, postmarked no later than and Article Awards $1,000; semi-finalist teachers receive grants 28 February: title page and abstract; table of $500. All lesson plans chosen by the of contents, and one sample chapter. One The Lowens Memorial Book and judges are then published in an on-line data- of the three copies may be on a floppy Article Awards are prizes for books and base (www.nmc.org), where they are avail- disk in IBM format, using WP5.1 or Word articles published in the previous calen- able for free to other teachers. 6. Send your submission, with a cover let- dar year. The Committees would be Applications and guidelines were avail- ter, to Cyrilla Barr, Chair, 701 Pennsylvania immensely grateful for nominations and able from the Foundation’s web site, Ave., NW Washington, DC 20004. self-nominations for articles, essays in www.nmc.org. They could also be obtained anthologies, or books. Chairs for 1999 by calling 1-800-USA-MUSIC. Applications Publications (awards to be conferred in were due to the Foundation’s New York 2001): Book: N. Lee Orr, leeorr@mind- Non-Print Publications office (150 West 55th St., Suite 5C, New York spring.com; Article: Kim H. Kowalke, 207 Subvention Awards New York 10019) by 1 September 2000. Todd, University of Rochester, Rochester, The National Music Foundation is a not- NY 14620. [email protected] The annual deadline for applications for for-profit organization dedicated to the Sonneck Society Non-Print Publications American music. Its educational purpose is Subvention Award is 1 December. For to preserve and celebrate our heritage of The Dissertation Prize information contact Mary Jane Corry, 8 American music by encouraging and Joalyn Road, New Paltz, New York, 12561; supporting the use of American music in The Society for American Music [email protected]. schools. Dissertation Prize is designed to recog- For further information contact Thomas nize a single dissertation on American J. Heany, Director of Programming, at music for its exceptional depth, clarity, Publication 1-800-USA-MUSIC. significance, and overall contribution. American music is interpreted in all its Subvention Awards historical and contemporary styles and Women Song Composers: contexts, including, but not limited to art Maximum award: $2,500. Applications A Listing of Songs and popular musics, the musics of ethnic may be made at any time, but applicants groups and minorities, and the full range should anticipate a long waiting period. A new searchable database containing of musical activities. “America” is under- Applications should be received by 15 5116 songs and song sets by 515 women stood here to embrace all of North November and include the following: composers active in North America and America, including Central America and publication plans. (Note: A publisher must England between 1890-1930 has recently the Caribbean, and aspects of its cultures have agreed to print the work); detailed been posted on the Internet. Through this elsewhere in the world. financial statement, including publication database, it is possible to document—at The period of eligibility for the Prize is costs showing format and print run; least in part—an extraordinary rise and for doctoral dissertations successfully specific request amount; and statement decline of women song composers that defended during the previous calendar of impact of subvention on the price; brief occurred in the years before and after the year. Applicants need not be members of curriculum vita; outline and table of First World War. The sustained publication the Society. The submission process is not contents of proposed publication; sample of songs by women grows from twenty-one “blind,” there is no limit on the number chapter. Six copies of the application new titles in 1890 to a peak of 200 in 1912, of submissions from any particular insti- should be sent to: Lenore Coral, Music tapering off to just eighteen in 1930. tution, and there is no requirement for Library, Lincoln Hall, Cornell University, Christopher Reynolds discusses this and nomination by dissertation director(s). Ithaca, NY 14853-4101; [email protected]. other aspects of the database in his preface; both can be accessed at: http://musdra.ucdavis.edu/faculty/reynolds /Women_songs_home.html

Digital Libraries Initiative at IU Indiana University (IU) has been awarded a four-year, three-million-dollar grant from the Digital Libraries Initiative- Phase 2 program, with support from the

70 The Bulletin for the Society for American Music • Vol. XXVI, No. 2/3 National Science Foundation and the try. Musical productions that further amplify Honors and Awards National Endowment for the Humanities, the American Identities theme will include Committee Members for a proposal entitled, “Creating the Digital Sondheim’s Assassins and Sherman Honors and Awards: George Keck, Music Library.” The project will build on the Edwards’s 1776. A presentation of Libby chair (1999-2001), Marsha Heizer (1999- achievements of IU’s VARIATIONS project, Larsen’s A Wrinkle in Time will precede a 2001), Wiley Hitchcock (2000-2002), a digital library system for recorded music week-long residency of the composer Sherrill Martin (2000-2002), Paul Wells and images of musical notation previously during the Spring. Guest recitals by (1999-2001) developed at the IU’s William & Gayle Cook Metropolitan Opera soprano and SUNY Irving Lowens Award, 2000 Publications Music Library. Potsdam alumna Renee Fleming, the Kronos (Books): Edward Berlin, chair; Wilma The project will focus chiefly on test-bed Quartet, and Native-American singer Buffy Cipolla, William Kearns, Judith Tick, development and will investigate software Saint Marie will also reflect the “American Charles Wolfe and system architecture, to provide Identities” theme. The climax of the Irving Lowens Award, 2000 Publications networked access to digital music content American Year will be The American (Articles): John Koegel, chair; Carol Hess, (sound recordings, score images, encoded Identities Festival, a three-and-a-half day all- Paul Laird, Michael Pisani, Ann Sears score notations, etc.) both for instruction campus celebration, 14-17 March 2001. A Dissertation Prize (1999 completions): and library services. The team of investiga- complete description of the project may be Catherine P. Smith, chair; Adrienne F. tors will include faculty from IU’s Schools found on SUNY Potsdam’s America 2000 web Bloch, John Koegel, Gayle Murchison, of Music, Law, Library and Information site at http://www.potsdam.edu/am2000. David Patterson Science, and its Department of Computer Dissertation Prize (2000 completions): Science, with support from the University Cyrilla Barr, chair; David Ake, Liane Curtis, Libraries and University Information Homer Rudolf, Patricia Norwood Technology Services. For further informa- Search for New Music tion, see the project’s web site at by Women Composers http://dml.indiana.edu/index.htm. The International Alliance for Women in Music is pleased to announce the 20th IAWM (2001) Search for New Music by Millennial Celebration Women Composers. Various prizes will be of American Identities awarded. A composer may submit only one piece, which must be unpublished, have at SUNY Potsdam won no prior awards, and have no plans to SUNY Potsdam continues its year-long be recorded at the time of entry in the America 2000 project which investigates competition. the United States’ role in the new millen- For information on the contest guide- nium and focuses upon the theme of lines, email [email protected] “American Identities.” SAM member Gary or visit the IAWM Website: Busch is founder and director of this http://music.acu.edu/www/iawm/oppor- campus-wide interdisciplinary initiative. tunities/snm.html, or contact Marilyn America 2000 consists of several key Shrude IAWM Search for New Music components. The “American Year” features College of Musical Arts Bowling Green offerings exploring the American Identities State University Bowling Green, OH 43403. theme, including music and dance perfor- Deadline: 12 January 2001. mances, art exhibits, a film/discussion series, and the College’s inauguration of an American Studies minor. “American Identities: Land, Body, Word, People, Spirit” is a national photography exhibition featuring over 100 black and white, color, digi- tally created and photo/mixed media artworks by 32 artists from across the coun-

The Bulletin for the Society for American Music • Vol. XXVI, No. 2/3 71 CONFERENCES

21-25 February 2001: Music Library 22-24 March 2001: Virginia 15-18 November 2001: American Association. The Music Library Commonwealth University announces an Musicological Society. The 2001 Association (MLA) will hold its 70th International Samuel Barber Symposium annual meeting of the American Annual Meeting at the Grand Hyatt New to be held in Richmond, Virginia. Papers Musicological Society will be held in York in New York City with members of and lecture demonstrations on topics relat- Atlanta, Georgia from Thursday, 15 the Theatre Library Association, the Dance ed to the life, work, and influence of November to Sunday, 18 November. See Librarians Discussion Group of the ACRL Samuel Barber will be presented. http://www.sas.upenn.edu/music/ams Arts Section, and the Congress on Questions about the Symposium may be for details. Research in Dance. The MLA Local directed to Mr. John Patykula at The American Musicological Society is Arrangements Committee, host of the 70th Department of Music, Virginia a non-profit organization to advance Annual Meeting, is planning special tours Commonwealth University, 922 Park “research in the various fields of music as of the Louis Armstrong House and Avenue, Richmond VA 23284-2004; a branch of learning and scholarship.” The Archives in Queens, the Metropolitan phone: 804/828-8008; fax: 804/827-0230; Society holds its annual meetings with Opera Archives, and the archives of the email: [email protected]. concurrent sessions to accommodate the New York Philharmonic, as well as tours reading of about 125 papers as well as of several Broadway theaters. For more study sessions, panel discussions and 19-21 April 2001. Shepherd College information, contact Christine Hoffman at forums on a variety of topics. Concerts, Conference on Music of the Civil War (212) 988-3792 ([email protected]), or exhibits, and social and business functions Era. Shepherd College is pleased to www.musiclibraryassoc.org/nycmeet/wh engage the time and interests of members present its first annual Conference on _meet_nyc.htm. beyond the scholarly sessions. Music of the Civil War Era. This year’s keynote speaker is slated to be Ron 8-10 March 2001: Society of Early Maxwell, director of the movie 15-18 November 2001: College Americanists Conference, Norfolk, Virginia. “Gettysburg.” The conference will include Music Society. Forty-Fourth Annual The first SEA conference last year featured performances by the Wildcat Regimental Meeting, Santa Fe, New Mexico. See papers and presentations from individu- Band (a re-enactment band with period www.music.org for details. als in art history, theater history, literature, instruments) and the Philadelphia Conferences of The College Music material culture, social and political history, Ambassadors Chorale and Ensemble (a Society provide a forum for the exchange and music history, among others. Please choral group specializing in African- of ideas on a wide variety of issues. The consult the SEA home page at American music of the “Mother Bethel” conference programs feature plenary www.hnet.uci.edu/mclark/seapage.htm AME church in Philadelphia during this sessions, presentations, panels, and and note other information about the period). Other events include paper performances in the areas of composition, conference. For more information, please presentations, workshops, battlefield tours, ethnomusicology/world music, music contact Jeffrey H. Richards, SEA 2001 and a display of period instruments. Please education, music in general studies, musi- Program Chair, Department of English, Old contact Dr. Bruce Kelley (Department of cology, performance, and theory, as well Dominion University, Norfolk, VA 23529 Music) at (304) 876-5290 for more infor- as new areas which emerge as the profes- or email: [email protected] or Dennis mation, or go to the web site : www.shep- sion responds to change. The Society's Moore, SEA 2001 Associate Program Chair, herd.wvnet.edu/gtmcweb/seminars.htm program differs from those of discipline- Department of English, Florida State specific organizations by virtue of its University, Tallahassee, FL 32306-1580 or greater attention to the art of teaching and 2-5 August 2001: Hollywood Musicals email: [email protected]. its disciplinary inclusiveness. and Music in Hollywood. The American Music Research Center at the College of 15-17 March 2001: Southeastern Music, University of Colorado at Boulder 25-28 October 2001: Society for Historical Keyboard Society annual con- invites the submission of abstracts and Ethnomusicology. 2001 Annual Meeting, clave in Charlottesville, Virginia. Topics panel proposals for the third triennial Susan Marriott Renaissance Center, Detroit, will include those relating to the Federal Porter Memorial Symposium, a four-day Michigan. Sponsored by the University of period, Thomas Jefferson, and early music conference to be held in Boulder. Michigan. The 2001 Conference theme is in the mid-Atlantic states, as well as those Proposals due 8 January 2001. For further “Teaching and Learning in the Twenty- that relate closely to the clavichord, harp- details including submission requirements First Century”; the proposal deadline is 7 sichord, fortepiano, or historic organ and contact information, please see March 2001. For information, contact: SEM and their repertoires. Questions regarding http://www-libraries.colorado.edu/amrc/. 2001 Program Committee, Society for the conclave may be directed to Ardyth Ethnomusicology, Morrison Hall 005, Lohuis by fax 804/827-0230 or e-mail: alo- Indiana Univeristy, Bloomington, IN [email protected]. SEHKS can be found 47405. on the web at http://www.sehks.org.

72 The Bulletin for the Society for American Music • Vol. XXVI, No. 2/3 REVIEWS OF RECORDED MATERIALS

Edited by Orly Leah Krasner, City College, CUNY

ELAN: MUSIC FROM MEXICO AND drama produced with limited means. the highlights of this two-day annual event THE U.S. Elliott Schwartz: Elan: Variations Passages makes use of such special tech- held in conjunction with Mexican for Five Players. William Toutant: Bagatelle. niques as harmonics produced by “stop- Independence Day (16 September) cele- Max Lifchitz: Three Songs for voice and ping” the low B and C strings inside the brations. It is especially fitting that the festi- Trumpet. Silvestre Revueltas: Cinco piano, and the use of sympathetic vibra- val has been sponsored since 1992 by the canciones de niños. Mary Jeanne van tions that result when the player aims the Narciso Martínez Cultural Arts Center in Appledorn: Passages and Passages II. bell of the trombone into the strings of the San Benito, since that organization is Daniel Kessner: Two Visions. Daniel piano while the pianist holds down the named in honor of conjunto pioneer and Kessner, alto flute, conductor; The damper pedal. Each work consists of five local resident Narciso Martínez (1911- North/South Consonance Ensemble; Frank brief movements. 1992), known as the “Huracán del Valle” Cassara, marimba; Kathleen L. Wilson, William Tourant’s Bagatelle is a cheer- (“hurricane of the Lower Río Grande soprano; Robert Stibler, trumpet; Max ful composition for alto flute and marimba Valley”). With 19 pieces (recorded by 17 Lifchitz, piano; Don Lucas, trombone; Alan with a focus on balance and clarity and conjuntos), including examples of the D. Shinn, percussion. North/South inspired by 18th-century forms. Daniel polka, chotís (schottische), redova, bolero, Recordings, N/S R 1020, 1999. One Kessner’s Two Visions for flute, clarinet, cumbia, danzón, canción ranchera, and compact disc. violin, cello, and piano is also included. huapango, Taquachito Nights presents a The intriguing disk Elan presents an The performances range from serviceable wide range of conjunto artists, genres, and eclectic group of compositions in a vari- to good, but are rarely inspired. popular styles. It also represents a multi- ety of styles, composed within the last Silvestre Revueltas’s Cinco Cancionnes generational conjunto audience. The musi- eighteen years, and mostly scored for de Niños for soprano and piano were writ- cians with the longest reputation in and unusual combinations of instruments. ten in 1940, two years before the outside the Lower Río Grande Valley Elliott Schwartz, a native New Yorker with composer’s untimely death at age forty. include Valerio Longoria (b. 1924), the numerous performances of his works to These five songs, inspired by the folk senior conjunto accordion player who his credit, contributed the title work, Elan: music and syncopated dance rhythms of performs the canción ranchera “Noche de Variations for Five Players. The work is Mexico, set poems by the Spanish writer Amores” (“Night of Love”); Tony de la Rosa scored for flute with piccolo doubling, clar- Federico Garcia Lorca. They exhibit a (b. 1931), playing his famous version of inet, violin, ‘cello and piano. The variations perfect synthesis of lyricism and humor the conjunto standard “Atotonilco” (polka); are derived from the opening section, that raise the light and amusing texts to the Mingo Saldívar (b.1936), who sings and rather than from a theme. The style is level of high art. These songs alone would plays the bilingual cumbia “El Sinaloense”; generally atonal, lyrical, and light in texture be worth the price of the recording. and Rubén Vela (b. 1937) performing a with pointillistic elements and rapid shifts —Amy Camus cumbia especially geared towards the of mood between variations. Queensborough Community College, young people in the festival audience, “El Three Songs for Voice and Trumpet by CUNY coco rayado” (“The Stripped Coconut”). Max Lifchitz on poems by Don Padgett, The sound engineering on the record- Steve Levine, and Gary Lenhart are ing is uniformly excellent and a success- wonderful fun. The poems are a light- TAQUACHITO NIGHTS: CONJUNTO ful attempt has been made to capture the hearted commentary on animals, insects, MUSIC FROM SOUTH TEXAS. ambiance of the live festival atmosphere. and the human condition. The soprano is Smithsonian Folkways Recordings, SFW The interesting liner notes are extensive required to use Sprechstimme (minimally), CD 40477, 1999. One compact disc. and historically informed, and help to and talk and sing in approximately equal While Texas-Mexican conjunto music bring this tradition to life for audiences measure. The trumpet supplies traditional- (the accordion-led ensemble) will be famil- familiar and unfamiliar with the style. sounding military fanfares and flourishes, iar to a wide audience because of its recent Smithsonian Folkways is to be melodic accompaniment, and highly effec- national and international exposure, the commended for issuing another fine tive insect sounds. The result is a delight- differences between regional variants of recording dedicated to one of the many ful, if brief, song cycle. conjunto (San Antonio and Lower Río Hispanic music traditions in the United Passages for trombone and piano, and Grande Valley styles, for example) and the States. (Earlier releases include collections Passages II for trombone and percussion related música norteña tradition of north- of music from Southern Arizona and New by Mary Jeanne van Appledorn are impres- ern Mexico will be more familiar to those Mexico and other areas). Hopefully, even sive additions to the trombone repertoire. living in Texas and the Southwest. more Hispanic/Latino music traditions will Ms. Appledorn is a composer of imagina- Taquachito Nights: Conjunto Music from be represented in their catalog in the tive and inventive musical gifts. These South Texas, recorded live at the 16 de future. works display an accessible and lyric style Septiembre Conjunto Festival in San —John Koegel and a remarkable range of color and Benito, Texas in 1998, presents some of University of Missouri–Columbia

continued on page 74

The Bulletin for the Society for American Music • Vol. XXVI, No. 2/3 73 “Reviews of Recorded Materials” continued from page 73 ensue and the music ranges from the lyri- the Spanish playground songs are more cal to the dramatic. The liner notes include colorfully accompanied by charango, pictures of the instruments and suggested bombo, cuatro, afuche, and bells. The liner NOTES IN PASSING activities. notes are good, and the Spanish songs, if The singer Ella Jenkins has an impres- used selectively, would be useful in some RICHARD DYER-BENNET: SONGS sive discography to her credit; these two classroom settings. WITH YOUNG PEOPLE IN MIND. recordings bracket her career. Ella Jenkins Richard Dyer-Bennet was a major figure Smithsonian Folkways, SFW CD 45053, and a Union of Friends Pulling Together is in the mid-century folk music revival; this 2000. One compact disc. ELLA JENKINS a 1999 recording celebrating “the ideas of CD, originally released in 1958, captures AND A UNION OF FRIENDS PULLING unity, cooperation, and labor unions the feel of a live concert. Dyer-Bennet’s TOGETHER. Smithsonian Folkways, SFW through songs, recitation, and poetry.” voice is a light, refined tenor accompanied CD 45046, 1999. One compact disc. ELLA There may be a bit too much recitation for by his own guitar playing. His selections JENKINS: SEASONS FOR SINGING. some tastes, but the musical numbers are draw equally from the Anglo-Celtic and Smithsonian Folkways, SFW CD 45031, well performed and several of Jenkins’s American repertory, encompassing ballads 2000. One compact disc. SUNI PAZ: harmonica solos are interspersed through- such as “Frog Went a-courtin’” and the ALERTA SINGS & SONGS FOR THE out. The cover suggests that this CD is North Carolina nonsense lyric “Buckeye PLAYGROUND/CANCIONES PARA EL appropriate for children ages four to Jim.” Even in the comical “Little Pigs,” with RECREO. Smithsonian Folkways, SFW twelve, but parents may find it more inter- its imitative snorts and whistles, Dyer- 45055, 2000. One compact disc. PETE esting, especially if they read the extensive Bennet never sounds less than elegant. SEEGER: AMERICAN FOLK, GAME & liner notes. In a classroom environment, This is not entirely a positive thing. ACTIVITY SONGS FOR CHILDREN. individual selections could be used to great Although the CD has a warm, intimate Smithsonian Folkways, SFW CD 45056, advantage. Seasons for Singing, a reissue, ambience, singer and audience seem to 2000. One compact disc. TALES TOLD IN was recorded at a summer program in maintain a respectful distance. THE WINDS. Roupen Shakarian: The Chicago in 1969; the suggested audience Pete Seeger’s American Folk, Game & Turnip, Clock and the Kid. Huntley Beyer: is three- to nine-year-olds. Most of the Activity Songs for Children combines two Tales Told in the Winds. Kathleen Davis material uses verse-chorus form with chil- albums first released in 1953 and 1962. As Macferran, conductor; Rainier Chamber dren participating in each number. The is the case with the other Smithsonian Winds; Paul Prappas, Allan Barlow, narra- accompaniments vary among guitar, Folkways recordings discussed here, the tors. MMC Recordings, MMC 2071, 1998. kazoo, rhythm sticks, and bongos. The liner notes are excellent. A personal note One compact disc. songs are also ethnically diverse; “Carry from the performer suggests that people These six discs sample a few of the Me Ackee” is Jamaican, “Tee-Kah-Nees” is continue to use the folk process to alter many choices available to parents and Greek, and there are several spirituals, the occasional lyric that has become polit- educators from the realm of music for chil- including “This Train” and “All Night, All ically incorrect in the decades between the dren. Tales Told in the Winds represents Day.” The sound quality of this CD is original release dates and the present. the world of art music. When you’ve run generally good, although it is occasionally Although some of this material is nearly a through the traditional favorites, these are apparent that the original was recorded half-century old, it still feels fresh and vital. engaging stories, both aptly narrated and several decades ago. Surprisingly, very few The CD opens with “Bought Me a Cat,” musically painted. Roupen Shakarian’s The of these numbers sound dated. arranged by Ruth Crawford Seeger, and Turnip, Clock and the Kid is actually three Unfortunately, the same cannot be said Pete’s performance is pure joy. Another short tales, with charming musical details for ALERTA Sings & Songs for the ten of his stepmother’s arrangements in each. The second, “The Wonderful Playground/Canciones Para El Recreo by follow and are equally delightful. But even Counting Clock,” creates a contrasting Suni Paz. This disc is a re-release of two in simple numbers like “Skip to My Lou” mood to accompany each hour. At three albums from 1977 and 1980, respectively. with banjo accompaniment or the a o’clock, for example, three frogs dance to ALERTA (A Learning Environment cappella “Yankee Doodle,” Seeger trusts the accompaniment of a foot-tapping Responsive To All) is a curriculum in the value of the music and he never fiddler; the music features a swirling violin designed by educators who believe in the condescends to his young audience. line over a boom-chuck bass line with “beauty of multiculturalism.” Paz is at her Although the cover suggests that this CD comical wind interjections. The ensemble best in the Spanish songs; the English- is especially suitable for children three to consists of oboe, clarinet, bassoon, French language numbers (including Jamaican seven, don’t be surprised if this timeless horn, trumpet, trombone, violin, double and African-American songs) sound recording becomes a family favorite. bass, and percussion. precious. The diction feels overly precise, The most extended work (at twenty- and the voice is often pitched in a way that four minutes) on this CD is “The feels artificially high, the way one might Fisherman’s Son” from Huntley Beyer’s speak to a child. There are several exam- Tales Told in the Wind. Beyer uses only ples of skip-rope rhymes, such as “Pizza, wind instruments to depict the story of a Pizza Daddy-O,” but this material is better fisherman’s son who releases the magnif- handled on various albums in the New icent scarlet fish his father has told him to World Record series. The accompaniments watch. Typical fairy tale consequences for the first half are generally perfunctory;

74 The Bulletin for the Society for American Music • Vol. XXVI, No. 2/3 À LA CLAIRE FONTAINE: MUSIC IN Huronne,” an art song by Célestin including Baril and Perrault, are in their KRIEGHOFF’S QUEBEC/LA MUSIQUE Lavigueur. Although Indianist in subject, seventies, and the vocal timbres often have QUÉBÉCOISE AU TEMPS DE there are none of the clichés associated an appealing rawness. KRIEGHOFF. The Beckwith Ensemble. with the genre here. The spirited instrumental numbers often Opening Day Recordings, ODR 9321, The marches and dances receive the include clogging. A notable example is 2000. One compact disc. MADEMOI- most spirited performances. These include “Reel St. Hubert,” performed by Dudley SELLE, VOULEZ-VOUS DANSER?: sophisticated, composed examples, such and Jacqueline Laufman, both of whom FRANCO-AMERICAN MUSIC FROM as the “Marche de la St. Jean-Baptiste” by fiddle and clog in this excerpt. Dudley THE NEW ENGLAND BORDERLANDS. J.-C. Brauneis II, and traditional pieces like Laufman is a well-known contradance Smithsonian Folkways Recordings, SFW the “Reel du pendu” (“Reel of the hanged caller in northern New England. The CD 40116, 1999. One compact disc. man”) authentically fiddled by David ensemble Nightingale is also well known A retrospective of the paintings of Greenberg with his own foot-tapping in contradance circles; their performance Cornelius Kreighoff, a nineteenth-century accompaniment. of “J’entends le moulin” (“I Hear the Mill”) Canadian artist, spurred the recording À la Ultimately one responds to this fine CD turns this well-known French folk song Claire Fontaine: Music in Krieghoff’s as to a plate of delicious hors d’oeuvres; into a highly crafted presentation. Quebec. Prepared in conjunction with the one waits with a sense of wonder for the The breadth of this CD is one of its exhibition, the repertoire highlights six ensuing main course. These tantalizing strengths. It embraces a cappella solos and aspects of contemporary life as depicted morsels should encourage both more ensembles of four or five; polished perfor- by the painter: traditional songs, echoes performances and more research. mances by concertizing ensembles and a of First Nations music, sacred music, Mademoiselle, Voulez-vous Danser? medley of materials culled from five hours marches and dance music, art songs, and picks up where the “Reel du pendu” and of music recorded at a soirée; voices rough theatre music. John Beckwith’s informa- “Valse-clog medley” from À la claire with age and suave, youthful renditions. tive, bilingual notes establish the context fontaine left off. This dynamic CD is the If the question is, “Mademoiselle, Voulez- and explain the connections between the result of an ethnomusicology seminar at vous Danser?,” then the answer most visual and the musical. Dartmouth College. Fanning out from certainly is, “Yes!” “Echoes of First Nations music,” for Hanover, New Hampshire, the students —Orly Krasner example, refers to three Indianist pieces, collected their sampling of Franco- City College, CUNY including Ernest Gagnon’s “Stadaconé,” American material in 1996-97. The liner subtitled “danse sauvage.” This charming notes are extensive and provide a contex- work, with its programmatic dissonances tual overview as well as specific informa- and ostinati, features the ensemble’s four tion for each piece. instrumentalists—John Beckwith, piano; This is a richly textured and varied col- Dianne Aitken, flute, David Greenberg, lection. A contemporary ballad by Donna violin; and Trevor Tureski, percussion. The Hébert (b. 1948) opens this CD. “The duet “We never tell a lie” from Calixa Shuttle” describes the rigors of working in Lavallée’s operetta TIQ (The Indian a New Hampshire mill. It is performed by Question) features the ensemble’s two Chanterelle, a young Massachusetts singers—soprano Lisa Lindo and tenor ensemble devoted to establishing “a con- Darryl Edwards. Its open-fifth ostinato, temporary cultural identity for Franco- melismatic war cries, and suggestive dance American music and musicians.” Its pol- interludes warrant its inclusion under the ish contrasts with the homey simplicity of First Nations banner, but it could just as Maria Perrault’s a cappella rendition of “Te easily have been grouped with the two souviendras-tu de moi?” (“Will You other theater excerpts, also by Lavallée Remember Me?”), a song she learned from (1842-1891). her father. Similarly, “Les bûcherons” (“The Calixa Lavallée travelled throughout Lumberjacks”) was recorded at a soirée. North America as an itinerant theater musi- These house parties, dedicated to pre- cian. He is represented by three additional serving and increasing interest in the works on this CD: the “Shake Again Franco-American heritage, are informal Galop” and two numbers from his operetta gatherings for music-making, French con- The Widow. The delightful Waltz Song versation, and spontaneous dancing. “Smiling Hope,” however, seems to push Several excerpts on this CD were record- the soprano’s limits; she sounds more ed at soirées attended by anywhere from comfortable in the folk and sacred twelve to thirty people. The timber indus- numbers, particularly the lyrical and haunt- try figures prominently in the folklore of ing “Au sang qu’un Dieu va répandre” the region, and this song, led by Paul Baril (“With the blood shed by a Savior”) with (a stonemason by trade) includes violin obbligato. The tenor is uniformly antiphonal responses by soirée partici- good and convincingly presents “La pants. Many of the performers here,

The Bulletin for the Society for American Music • Vol. XXVI, No. 2/3 75 REVIEWS OF BOOKS

Edited by Petra Meyer-Frazier, Metropolitan State College of Denver and Sherrill V. Martin, University of North Carolina at Greensboro

CONTEMPORARY ANTHOLOGY OF released in 1999 (ISBN 0-253-33547-7), that THE SEARCH FOR THOMAS F. WARD, MUSIC BY WOMEN. Edited by James R. avails the listener of all except three works. TEACHER OF FREDERICK DELIUS. By Briscoe. Bloomington, Ind.: Indiana Although veterans of the1987 recordings Don C. Gillespie. Gainsville: University of University Press, 1997. Pp. xii, 404. such as Anna Briscoe and the Butler Florida, 1996. Pp. xvi, 180. In 1987, James R. Briscoe compiled and University choral groups make distinguished I just kept turning the pages even though edited Historical Anthology of Music by returns in this set, approximately three-quar- the further I read, the more I realized this Women, an authoritative tool that greatly ters of the bands are re-releases of commer- book had very little to do with music. The simplified our re-telling of musical history. cial issues. The creator’s voice is again a Search for Thomas F. Ward, Teacher of The present Contemporary Anthology is strong presence; no fewer than ten excerpts Frederick Delius is a record of Don equally significant to the literature on feature composers as performers and/or Gillespie’s decades of work filling in the women and music; however, this latest engineers. details of a very small footnote to music Briscoe anthology also exemplifies the Contemporary Anthology of Music by history: facts about an obscure American creative process in a challenging era—the Women should augment the collection of musician who taught Delius for six months late twentieth century—with a breadth and any institution or individual concerned with during the latter’s first sojourn in Florida. insight that others would do well to emulate. the study of twentieth-century music. Gillespie valiantly follows every possible Compositional dates range from 1955 to —Kay Norton clue to discover who this obscure New 1995 and comprise seven works written Arizona State University York/Florida musician was and what prior to 1980, fifteen in the decade of the happened to him. Delius is just an excuse 1980s, and twelve between 1990 and 1995. for the author to engage in the kind of GUITAR MUSIC BY WOMEN COM- In this globally diverse compendium, the archive work on Ward that most genealo- POSERS, AN ANNOTATED CATALOG. United States receives most of the attention, gists expend tracing their own roots. Compiled by Janna MacAuslan and Kristan with approximately 45% of the composers Unfortunately there are moments in the Aspen. Westport, CT, and London: having been born here. Such a collection book when we, like several of the people Greenwood Press, 1997. ISBN 0-313-29385- naturally favors those who communicate he interviews, question why he’s doing it 6. Pp. 202. significantly through “the score”; the and then wonder why we’re reading it. It is With well over eight-hundred composers American subset of this group includes obvious that this had become the quest for listed in this important document, an Diemer, Kolb, La Barbara, Larsen, Monk, the Holy Ward and nothing was going to uncharted musical land awaits exploration. (Grace) Smith, Tower, and Zaimont. The stop Gillespie until he had uncovered what- For those interested in discovering the expanse of American music is also ever there was. Following the clues about works of women composers, Guitar Music suggested with more populist works, such the consumptive Ward from his native is an informative and well-organized guide as Dolly Parton’s “Coat of Many Colors” and Brooklyn to the healthier climate of Florida for finding this neglected repertoire. Musical an aria from Lucy Simon’s Broadway musi- (where his path intersected with Delius’s), works are organized by instrumentation cal, The Secret Garden. Gillespie tries to reconstruct the life of this (e.g., flute and guitar, concerto, strings and Guided by merit and staying power, vague musician by examining the musical guitar). The composers and their pieces are Briscoe chose wisely among an unprece- scenes of every town he is known to have alphabetically listed, often with a stylistic dented wealth of compositional expertise, lived in—Gainesville, St. Augustine, Tampa, description, sometimes quite elaborate: then relinquished a fair amount of editorial Shreveport, New Orleans, Houston, as well “medium-lyrical, open, fluid tonality, Bartok- control by asking each woman to select her as Brooklyn. These vignettes on the cultural like.” The second half of the book is most representative score or excerpt. life of late nineteenth-century and fin de devoted to short and concise biographies Commentaries attached to each work siècle American cities provide some of the of most of the composers listed. Add to that summarize data from pre-existing sources most interesting insights in the book, appendixes listing the composers’ and and a questionnaire, the latter of which although Ward is at best only tangential to publishers’ addresses, a bibliography, and evoked a broad range of perspectives on the activities. Along the way we also learn both a composer and title index, and you the profession and the degree to which a lot about the political strife of several have the portal to what hopefully one day being female matters. Briscoe’s own prefa- monasteries, including the still controver- will be an important addition to the tory insights, along with those of Susan C. sial Belmont Abbey, where Ward briefly guitarist’s repertoire. Cook, further qualify the prose of took vows. —Robert Nathanson Contemporary Anthology as a solid, appro- This book is regrettably similar to hear- University of North Carolina priately diversified lexicon on the artistry of ing some ardent genealogist run on for at Wilmington a period characterized by shifting musical hours about his fascinating ancestors who values. are actually quite boring but lived in inter- The pièce de résistance of this project is esting times and places. You appreciate the a triple-CD recording of the Anthology, researcher’s fervor and devotion, but did

76 The Bulletin for the Society for American Music • Vol. XXVI, No. 2/3 you want to spend this much time hearing scribed musical examples or excerpts either EDWARD MACDOWELL: AN AMERICAN about it? Then again, this tale is a page- in standard western notation or any alter- MASTER. Alan H. Levy. Lanham, MD and turner and if you like a good mystery, this native system. The discussions of terminol- London, The Scarecrow Press, 1998. book is like Dorothy Sayers or P.D. James ogy are very valuable for the student of Two meanings of the word “amateur” sans corps but rich in the marginalia you American music, but we are left somewhat come to mind on reading Levy’s Edward learn while following the clues. in the dark as to how these terms may be MacDowell. As amateur, the author brings —Vern Sutton, Ph.D. and Professor related to specific harmonic, scalar, melod- to his subject love and enthusiasm, but also University of Minnesota ic, and rhythmic usages. demonstrates a lack of skill that together Hinson speaks of his informants as col- with hubris invalidates his noble intentions. FIRE IN MY BONES: TRANSCENDENCE leagues and “consultants.” He sees them as Of these, the zeal to rehabilitate AND THE HOLY SPIRIT IN AFRICAN individuals and seems to reject many of the MacDowell’s reputation—a rehabilitation AMERICAN GOSPEL. By Glenn Hinson. assumptions of anthropologists about “cul- already made elsewhere—exposes Levy’s Philadelphia: University of Pennsylvania ture” as something shared, or at least about credulity. In addition, his lack of contextual Press, 2000. Pp 424, 24 b/w illustrations. cultural “patterning.” By playing experience, knowledge leaves him prey to errors and This book is an examination of the mean- particularly spiritual experience, into an preconceptions. Thus, even access to the ing of “soul” and “spirit” and the subjective institutional or behavioral framework, he recently opened MacDowell Papers at the “experience” of them in the African feels much real understanding is lost to the Library of Congress, an opportunity denied American “sanctified” community. As such, investigator, and the experience can then until now to other scholars because the it becomes an ethnography of feeling, or be manipulated and interpreted while its papers were sealed in the 1930s to appease “touch,” of the Spirit. It is not, however, immediacy and force are reduced. With this MacDowell’s widow, has not resulted in touchy-feely in style. The data are carefully attitude he blurs the line between insider new insight into the composer’s character organized and presented in great detail. The and outsider. This, or course, is easier to do and work. organizational framework is a single gospel- for nearly any American investigator of Given Levy’s credentials as professor of singing program, the twentieth anniversary something such as the African American history concentrating on American culture, of the Branchettes, a female duo in North “sanctified” community because of shared one might have expected from him differ- Carolina. Hinson tries to show how every elements of culture, language, music, etc., ent, more well -rounded interpretations of observable part of the program fits together between the community and the investiga- MacDowell’s life than those written by musi- to make the whole—preaching, testimony, tor, and because of the case of movement cologists. Apparently believing mere tran- prayer, gesture, song, instrumental sounds, between home and the “field.” This would scription sufficient to make his case, announcements, etc. Since this is a singing not be so easy to do for someone studying however, Levy never bothers to explicate program, the greatest emphasis naturally is the sacred musical performances of a very the new texts. Instead, he presents them to on song. His running description of the different society in another part of the world. the reader raw and undigested. Whatever program is crosscut by his discussions of its Thus one might be a bit disturbed by lacunae, misconceptions, idiosyncratic opin- meaning, interview statements of partici- Hinson’s criticism of some anthropological ions, or obscure references contained pants, accounts of conversations with other analyses of such material as “ontological therein are left hanging in air without correc- singers and church people not a part of the colonialism” (p. 331). In a sense, Hinson’s tion or comment. program, observations of other music and role is that of organizer of this community’s Note the material [p.109] taken from worship events, and so forth. beliefs, ritual activity, and spiritual experi- letters, “Steele MacKage to MacDowell, Hinson treats the experiences and testi- ences, letting his presentational framework December 1892” [Note 36, p. 132] and monies of “saints” as real, not merely as and the depth and detail of his probing and “Edward MacDowell to Marian, undated social constructs or things attributable to reporting stand for analysis. (There is, of [Note 37, p.132]”: familiar psychological patterns to be ratio- course, much self-analysis in the statements nalized and explained away. As an anthro- When Steele MacKage, director of the of his many “consultants.”) Although he dis- pologist and folklorist, he tries to harness General Columbian Celebration Company, cusses other potential and actual scholarly subjectivity to science, with the goal “to wrote MacDowell asking him to “undertake analyses of these phenomena in his notes explore the metaphysical and experiential composition of the most important musical and an appendix, he is reluctant to give worlds of the program’s participants” (p. 7). work for [the] World’s Fair,” MacKage sought them precedence over the testimony and The main text is thus entirely the author’s to underscore his sense of excitement, explanations of the “saints.” Anthropologists mentioning, “Dvorák declares it the grandest descriptions and the words and song lyrics and folklorists can debate whether or not opportunity ever offered a composer and of saints. The interpretations of other schol- this is good professional methodology. would seize it himself (!!!) if free.”36 ars on similar material are kept in the notes. Whatever the ultimate verdict (if any), stu- MacDowell never wrote back and confided This book explores the elaborate rhetoric dents of American music are left with a rich to Marian, . . . “I can’t do anything with it of “experience,” of “getting happy” and 37 mine of information about one important . . . I wouldn’t take it after Dvorák anyway.” being “on fire.” Much of this rhetoric is cen- type of musical activity and its basis in belief tered around music, so that we get much Of course, one of the most celebrated and spirituality. discussion of such in-group terms as “drive,” individuals in American culture is not —David Evans “zooning,” “gift of song,” being “noisy,” etc. MacKage, but the veritable actor, playwright, The University of Memphis There is however, little discussion of musi- producer, and theatrical innovator, Steele cal form and style using any of the usual MacKaye [1842-1894; pronounced “Ma Kai,” analytical musical terminology and no tran- continued on page 78

The Bulletin for the Society for American Music • Vol. XXVI, No. 2/3 77 “Reviews of Books” continued from page 77 assumed successfully by George Chadwick. tonic of A minor. Perhaps this was why Liszt, according his son Percy who, among other But in the retelling of this familiar episode upon hearing the young MacDowell play collaborations with American composers, in his subject’s career, Levy misspells the the concerto solo with Eugen d’Albert wrote librettos for Frederick Shepherd name of the poet as Munroe, refers to a [perhaps Eugène, but certainly not Eugèn, Converse (see Scarecrow Press book, request for a piano score “to facilitate pp. 18-19] on the piano reduction of the Converse, by Robert J. Garofalo, Note 71, p. rehearsals” [my emphasis], implies the accompanying orchestral part, warned the 31]. The impression left by Levy (perhaps cancellation of the commission was mutual, more well-known composer to watch out based on MacDowell’s hasty reading of when in fact, according to Margery M. for the American. MacKaye’s request) is that MacKaye was Lowens [The New York Years of Edward If the gloss of only a few pages must yield writing in his capacity as head of the World’s MacDowell, pp. 58-9], the Fair’s Music such corrective commentary, the reader may Columbian Exposition. In reality, MacKaye Bureau sent out a news release of take it for granted that a thorough consid- was soliciting MacDowell for a different, MacDowell’s acceptance, and finally, implies eration of Levy’s well-meaning biography private organization, having no relationship mistakenly that Mrs. Beach, rather than would be a project far beyond the limita- with the Fair, or its music. The “General Chadwick, took on the assignment of setting tions imposed on this review. It is appalling Columbian Celebration Company” was Monroe’s Ode, perhaps by confusing it with to realize that those searching for informa- dedicated solely to MacKaye’s Spectatorium, Beach’s concerted work, Festival Jubilate. tion on MacDowell’s life and works will a visionary theatrical auditorium that was to That work, also commissioned by the accept the author’s narrative as gospel and be erected adjacent to the Fair grounds. Columbian Exposition, was composed for repeat its errors, mistakes, and oversights The reference in the letter to Dvorák had the dedication of the Woman’s Building, not for at least another generation. Caveat lector! to do with the composer’s diplomatic turn- “for the opening ceremony” of the Fair —Victor Fell Yellin down of MacKaye’s proposal that he write [pp. 106-7]. New York University orchestral music for his grandiose Discussing another Columbian Fair Spectatorio dealing with “the theme of the contretemps involving MacDowell, Levy New World Discovery” [see Percy MacKaye, makes the uninformed suggestion that the IVES STUDIES. Edited by Philip Lambert. Epoch: The Life of Steele MacKaye, New York, Steinway pianos played by the composer Cambridge: Cambridge University Press, 1927, Vol.II, pp. 354-65]. Dvorák’s magnan- were made by a “German manufacturer” 1997. Pp. xi + 300. THE MUSIC OF imous suggestion—perhaps he had little and denominates the company as “Joseph CHARLES IVES. By Philip Lambert. New faith in the speculative nature of the Steinway and Sons [p.107]!” Haven: Yale University Press, 1997. Pp. xii project—may be interpreted as mere Levy modestly recognizes his limitations + 244. eyewash from a polite but savvy foreigner as a musical analyst. He prudently advises Ives scholarship over the last decade or who had just arrived on these shores. that those “who wish technical analyses of so has been dominated by a small group of Nevertheless, all was not lost, since accord- . . . MacDowell’s works can go to the scores researchers, including Stuart Feder, H. Wiley ing to Percy MacKaye, it was his father’s and make their own investigations [pp.x- Hitchcock, James Sinclair, Jan Swafford, and concept that eventuated in Dvorák’s xi].” Yet he cannot resist at least one stab at especially J. Peter Burkholder. However, a symphony From The New World! musical explication. Displaying a full orches- number of others have also been working Undaunted by Dvorák’s rebuff, and still tral score illustration of the first five away at the Ives legacy, but not always with requiring a vast supply of orchestral music measures of the third movement of the the same degree of public prominence or for his Spectatorio, MacKaye systematically Piano Concerto in A minor, Levy opines, recognition: notable amongst this group is made inquiries among many American “The chords that open [it] remind almost Philip Lambert, whose substantial contri- composers. One of the reasons he called every listener of the similar B-diminished bution to the cause is suitably acknowl- upon MacDowell, in particular, may have seventh tremolo that dramatically opens the edged through the appearance of this fine very well been, in addition to MacDowell’s piano concerto in the same key by the pair of volumes. Ives Studies and The Music premier position in American music, the fact Norwegian composer Edvard Grieg pg.12].” of Charles Ives in many ways complement that they both had attended the same Here it takes no music-theory specialist to both existing Ives scholarship and each Grammar School No. 40 in Manhattan [P. notice that the only thing the two examples other. The former volume contains ten indi- MacKaye, Vol. II, pp. 46-8]. MacDowell’s may have in common is the fact that they vidual essays, addressing such general silence in the matter may be explained as both begin with a timpani-roll crescendo: topics as the relationship of Ives’s music to sagacious, given his recent negative expe- Grieg’s on A, MacDowell’s on E. Dispensing that of Europe; the chronology of his rience with a Fair commission. Furthermore, with the illusory “B-diminished seventh compositions; historical and biographical with MacDowell’s antipathy towards tremolo,”—an effect that, were it present, contexts for his work; and the unfinished Dvorák, MacKaye’s invocation of the would have truly demanded notice at the Universe Symphony. Among the important Bohemian’s name may have had an effect time—Grieg’s first tutti chord is clearly the links here are the chapters by Robert P. on Edward contrary to the one intended. In tonic of A minor. MacDowell’s similar Morgan (“ ‘The Things Our Fathers Loved’: any case, MacKaye’s expensive scheme timpani-roll punctuation (the chord on Charles Ives and the European Tradition,” came to naught after the financial panic of Levy’s page 11 example) approaches a which ties in with the work of Peter 1893. diminished seventh, but not quite. Happily, Burkholder and Geoffrey Block, including The one commission MacDowell received MacDowell employs the less hackneyed the latter’s own contribution to the present earlier from the Fair proper, to write music non-dominant seventh chord on B, permit- tome); H. Wiley Hitchcock (“Editing Ives’s for young Harriet Monroe’s Octe, was inex- ting him to introduce the solo piano in rising 129 Songs,” which relates to his forthcom- plicably refused. Subsequently, it was arpeggiated fifths and tritones on the super- ing critical volume of Ives’s songs); and

78 The Bulletin for the Society for American Music • Vol. XXVI, No. 2/3 Gayle Sherwood (whose “Redating Ives’s going at times, and sections such as “A declamatory, rather redundant writing style. choral sources” provides a solid foundation Theory of Combination Cycles” (pp. 161-7) Over and over we read of the evils the for the future revision of Ives’s composi- will probably appeal only to hardened theo- author attributes to hard boundaries and the tional chronology). rists; however, this should not belittle virtues of interdisciplinary education. What Elsewhere in Ives Studies, Judith Tick Lambert’s singular achievement in demon- we fail to find is a carefully developed argu- provides a fascinating insight into the strating so convincingly that some of Ives’s ment integrating the many facets of this composer’s political ideas, while Stuart most challenging (and allegedly cranky) study and leading to a conclusion that will Feder explores the importance of Thoreau music is in reality both extremely rigorous clinch the author’s argument. Thus, the to Ives. Possibly the most interesting chap- and intimately connected to those other book is likely to convince only those who ter is Wolfgang Rathert’s thoughtful and “expressive, colorful” pieces of his “that are already won over to interdisciplinary convincing essay entitled “The idea of [capture] the essence of nineteenth-century education. Let’s look at these problems in potentiality in the music of Charles Ives.” America and [speak] in tongues compre- detail. This develops Emerson’s concept of poten- hensible only to the human spirit” (p. vii). Two instances of lopsidedness are tiality in the context of Ives’s musical and —David Nicholls Detels’s overviews of the history of music aesthetic thought, which—Rathert argues— University of Southampton esthetics and music theory. According to the “represents not only a fascinating challenge author’s view, esthetics went into decline to performers, listeners, and scholars, but following a golden age (the late 18th also a powerful and inviting legacy of music SOFT BOUNDARIES: RE-VISIONING century) marked by the writings of Kant and still to come” (p. 132). Not unsurprisingly, THE ARTS AND AESTHETICS IN AMER- Schiller. By the late 19th century, “Art for given this stance, Rathert is picked out by ICAN EDUCATION. By Claire Detels. Art’s Sake” prevailed, with its focus on Peter Burkholder in the concluding chap- Westport, CT and London: Bergin & Garvey formalism and neglect of historical and ter, “Ives today,” for continuing to “stress (Greenwood Publishing Group), 1999. cultural context. Examining a piece of music how different [Ives’s] music is from This book calls for a major restructuring as a “thing in itself” appears to be anathe- European music of the period, while of arts education from the present “hard matic to the author, and she disparages the American scholars have recently been boundaries” (each discipline and areas work of 20th-century theorists who attempt emphasizing the opposite” (footnote 32 on within taught as separate entities) to “soft to unravel music’s intrinsic meaning as so- p. 278). This whole issue—of the mutually boundaries” (an interdisciplinary approach much analytical puzzle solving, isolated contradictory ways in which Europeans and with esthetics as a base). The author appears from the “real world” and, therefore, incon- Americans perceive Ives and his oeuvre— well qualified to advocate such an sequential. Likewise contemporary estheti- would make a fascinating study in itself. As approach. She is informed in a number of cians who have made significant advances it is, Burkholder’s “envoi,” a typically thor- areas: music history, theory, education, and in clarifying the roles of meaning and ough and thoughtful survey of the various performance; esthetics; and the major post- emotion in music, areas which the 19th trends in Ives scholarship since the modern movements that have an impact on century had treated with a vague grandilo- composer’s centenary, inevitably empha- our musical thinking—gender, world music, quence, are dismissed as mere nit-pickers sizes the current “revisionist” agenda at the and cultural context. She must also be a who argue over definitions. In an excellent expense of other viewpoints. skillful teacher, judging from the reported chapter, “Uses of History in Some Recent Part Three of Ives Studies, which consid- examples of techniques she uses in her Aesthetic Writings,” Detels shows some ers Ives’s Universe Symphony, provides the classes at the University of Arkansas, sympathy for pluralism in historical inter- strongest link with The Music of Charles Ives. Fayetteville. pretation, but in music theory and esthet- Indeed, the two “Universe” chapters in Ives Soft Boundaries is organized in three ics, she brooks no ideas other than the Studies—Larry Austin’s discussion of his sections: I. “The [hard] Boundaries of the primacy of contextual thinking about music. realization and performances of the work, [today’s] Arts and Aesthetics,” II. “The Most rigid is Detels’s effort to establish and Lambert’s own intellectually magister- Boundaries in Music,” and III. “Soft “soft boundaries” as the magic formula that ial study of “Ives’s Universe”—are splendidly Boundaries and the Future.” The first two will cure all of the ills besetting the teach- complemented by the analytical insights parts of the 131-page text encompass 93 ing of numerous intellectual areas—history, provided by Lambert in “A Universe in pages, and the third part, only 38 pages. esthetics, psychology, and the musical disci- Tones,” the final chapter of his Yale volume; Thus, emphasis is on criticism of the present plines—which she so nimbly surveys. One together, the three essays create an absorb- system. The “re-visioning” is somewhat of her major criticisms is canonic historical ing and substantial picture of the semi-myth- sketchy, as we will see. teaching (great composers or works), which ical work first described at the conclusion The book as a whole is a vigorous she believes encourages rote memorization. of Henry and Sidney Cowell’s Charles Ives polemic, but it is marred by three tenden- But isn’t such teaching a method that could and his Music (1955). Elsewhere, Lambert cies. The first is one-sidedness. As the author just as easily take place in the “soft bound- provides extended and insightful analyses reviews the history of history, esthetics, aried,” interdisciplinary class as well as the of Tone Roads No. 1, Study No. 5, and The music history, theory, education, and “hard boundaried,” clearly defined disci- Cage, in the more general context of an performance, she selects only facts or opin- plines? More than an interdisciplinary struc- exhaustive dissection of what he terms Ives’s ions that support her argument. The second ture is needed to mitigate such a problem, “systematic” music (i.e. that usually referred is her procrustean effort to blame all of the if indeed it is one. Actually, the paramount to as “experimental”). Given Lambert’s faults she finds on her thesis—that “hard methodology in the teaching of music exceptional pedigree as an analyst, The boundaries” alone have created today’s history today is style analysis and compar- Music of Charles Ives can be pretty heavy deplorable conditions. The third is a continued on page 80

The Bulletin for the Society for American Music • Vol. XXVI, No. 2/3 79 “Reviews of Books” continued from page 79 period, and “global fusions of music in mini- A BLUES LIFE. By Henry Townsend as told ison rather than memorizing lists of malism and world beat” for the 20th century. to Bill Greensmith, Urbana & Chicago: composers or works. How much integration would actually occur University of Illinois Press, 1999 ISBN 0-252- In Part III, the author offers her solution depends on individual teachers. If this 02526-1. Pp. 145. to the problems she has presented earlier; proposal seems timid, the author offers a Henry Townsend’s biography is a story namely “an extension of [the] ‘comprehen- further concession for those schools that of racism, survival and most of all, musical sive musicianship’ approach of combining refuse to take even the “tiny” step of teach- circumstances. As a St. Louis blues figure theory and history instruction to include ing both theory and history as one course. who first began playing in the mid-1920s, connections to the performance and expe- She proposes a “realignment” in which his career has spanned the early days of rience of Western art and popular music, historians teach history and theory before blues’ recording popularity through a period and of prominent styles of non-Western 1900 in their present history courses, and of relative obscurity into the recent resur- music as well (p. 110). Considering the theorists cover post 1900 (114-115). Neither gence of the music. Although primarily a breadth and depth of her attack on the of these proposals appears to go very far sideman, he knew and often accompanied teaching of history, philosophy, and all of toward creating the vastly different system many of the seminal blues legends, either music, this “re-visioning” seems very limited. of conceptual music education that the in St. Louis or during his trips to Memphis The term “comprehensive musicianship,” author purports to call for throughout the and Chicago. on which Detels plans to build the new book. This book is an interesting document of order, is mentioned only in one place previ- I have criticized this book vigorously the life of Townsend as told to Bill ously: “Since the 1950s, there have been because the issues Detels presents are so Greensmith. At times the text is rambling college music programs that offer a more important and because they extend far and seems like the unedited transcripts of integrated, ‘comprehensive musicianship’ beyond pat solutions such as “soft bound- Greensmith’s interviews. A St. Louis resi- approach to the teaching of music history aries.” Ideally, I support Detels’s proposal dent, Greensmith devotes too much space and theory, but the influence of these to make philosophically conceived history to specific descriptions of St. Louis streets programs declined in the wake of increas- the basis for interdisciplinary study of the and areas. While this is interesting on a ing specialization on most campuses during arts, but I don’t think that a mere classroom local level and may be an important ingre- and following the 1960s (pp. 108-109).” arrangement is relevant to this goal. Rather, dient in a musicological study of the city’s Surely the model on which she intends to how we learn, each of us as individuals, is. music, the information is superfluous for build her program deserves more than one In music, we usually start by singing or most readers. prior mention. What is the history of this performing on an instrument. We then add, Townsend’s story clearly illustrates the movement that touched on nearly every depending on the degree of our interest, importance of the cross-pollination of musi- college campus to some extent? What were music theory and history. These accrue- cal influences that occurred between the its successes? Its failures? Did it decline solely ments take on the degree of major empha- major river cities during the first half of the because of “increasing specialization?” If so, sis for some of us. A few of us push on to 19th century. While it is generally agreed that does this reason augur well for the success esthetics and the relationship of music to blues music found it’s first form in the Delta of a neo-comprehensive musicianship (now the other arts and to culture generally. This region near Memphis, the spread of the inflated to include popular music and world learning process of starting with one specific music occurred via the transient population musics as well) in today’s world, which is skill, adding others as needed, and eventu- that regularly traveled up and down the increasingly specialized? Where will we find ally seeing the “big picture” to the degree Mississippi River from New Orleans to the teachers who can “integrate historical each of us can, has been going on for Chicago. Blues performers would make and theoretical issues with practice in a vari- centuries. The system has obviously grown occasional recordings and perform in a ety of art forms and cultures” (p. 126)? topsy-turvy. Can we reverse the process, as collection of house parties and juke joints. The author presents two outlines for the author proposes? Detels suggests that As such, St. Louis was an integral compo- changing the music curriculum. The first is “post-structural theory, cognitive learning nent in the evolution of the music and the integration of music history and theory theory, and other recent theoretical Henry Townsend’s recollections of his into a six-semester sequence (p. 111-112). approaches of the postmodern era” (p. 6) participation is an important document. The first semester is based on “folk and say that we can, but she doesn’t show how. Unfortunately, Townsend’s abilities as a popular musics around the world” in which Perhaps in her next book she will explore musician outshine his talents as storyteller. students study some basic theory: scale learning psychology more thoroughly and The book often bogs down in personal systems and simple chord progressions. The flesh out an interdisciplinary approach that recollections a skilled biographer might remaining five semesters offer the theory demonstrates a real contrast to “hard bound- have edited. His observations about such and history of music in the traditional histor- aries.” Then, she may be able to interest early blues figures as Roosevelt Sykes and ical sequence: “to 1600” [ancient and more of us than just the already converted. Walter Davis offer a fascinating glimpse into medieval], “1600-1750” [baroque], “1750- —William Kearns the working blues musician’s world. 1800” [classical], “19th c.” [romantic], and University of Colorado at Boulder Overall, A Blues Life is enjoyable reading for “20th c.’’ This “soft boundary” appears to be scholars interested in the history of the very much the material taught in present migration of the blues up and down the “hard-boundary” courses, but with an occa- Mississippi River. sional world music feature thrown in such —David Less as “the development of Indian music under Memphis, Tennessee the Mughal Empire” for the 1600-1750

80 The Bulletin for the Society for American Music • Vol. XXVI, No. 2/3 BILL EVANS: HOW MY HEART SINGS. only explains and critiques the music of an A SOURCEBOOK OF NINETEENTH- Peter Pettinger, New Haven and London: important jazz artist but also paints a picture CENTURY AMERICAN SACRED MUSIC Yale University Press, 1998, ISBN 0-300- of the life of a working musician. This book FOR BRASS INSTRUMENTS. By Mark J. 07193-0. Pp 346. is recommended for anyone interested in Anderson. Music Reference Collection, No. For fans of Bill Evans, this biography is jazz history, especially post WWII through 59. Westport, CT, and London: Greenwood an essential tool for a deeper understand- 1980. Press, 1997. ISBN 0-313-30380-0. Pp. vi, ing of this genius’ work. Anyone who is not —David Less 130. $65.00. familiar with Evans’ music will find this to Memphis, Tennessee Anderson begins his Sourcebook with be a very readable introduction to one of an exploration of the parallel development the great pianist of the twentieth century. of the brass band movement and religious Peter Pettinger, a concert pianist who has fervor in late nineteenth-century America. undertaken this critical analysis of Evans life NOTES IN PASSING Intended as a “useful collection of music and music, offers a scholarly interpretation to be used at appropriate times and places” of the compositions and techniques used (p.1), he also includes the scores for 22 NEW WORLD SYMPHONIES: HOW by the late jazz artist. works for various solo instruments, as well AMERICAN CULTURE CHANGED A gifted musician, Bill Evans studied clas- as small and large ensembles, transcribed EUROPEAN MUSIC. By Jack Sullivan. New sical music prior to his lifelong commitment from manuscript and original sources in Haven and London: Yale University Press, to jazz in the late 1940s. He was proficient the Old Economy Village Music Archives, 1999. ISBN 0-300-07231-7. Pp. 288. $30.00. as a sideman andcomposer but eventually Pennsylvania Historical and Museum Jack Sullivan, Professor of English and found his primary calling in the trio setting. Commission; the Manchester, New Chair of American Studies at Rider As an early member of one of the great Hampshire Historic Association; the library University, convincingly shows for the first Miles Davis groups, he gained fame with of the Chatfield Band in Chatfield, time the profound and transformative the hip jazz loving audience. His later solo Minnesota; and the New York City Public influence of American literature, music, and duet recordings (including multi- Library. and mythology on European music. tracked duets with himself) showcased his Beginning in the nineteenth century with brilliant compositions and technique. Gottschalk in Paris and Dvorák in New DOWN AT THE END OF LONELY However, it was in a series of trios that York, Sullivan traces the cross-cultural STREET: THE LIFE AND DEATH OF Evans grew as an artist through the inter- impact of the New World to the Old; he ELVIS PRESLEY. By Peter Harry Brown play of the various sidemen. concludes with the spread of rock and roll and Pat H. Broeske. New York: Dutton Pettinger meticulously traces the artist’s around the world. In addition, he presents Publishing Company, 1997. ISBN 0-525- development throughout his career, analyz- a fascinating account of the effects of 94246. Pp. xviii, 524. $25.95. ing the recordings and notes from live American authors as diverse as Twain, In Down at the End of Lonely Street, performances. Fortunately, Evans’ live DuBois, Melville and Langston Hughes on Peter Harry Brown and Pat H. Broeske shows were often recorded, although some- European composers, including Dvorák’s have successfully written the first compre- times without the permission of the fascination with Longfellow; Debussy and hensive, objective, single-volume biogra- performers. This afforded Mr. Pettinger the Ravel’s obsession with Poe; and the inspi- phy of Elvis Presley. Published on August opportunity to evaluate critically the devel- ration Whitman supplied for Delius, Holst, 16, 1977, the twentieth anniversary of opment of specific ideas, compositions and Vaughan Williams, Hindemith, Tippett, Elvis’s death, this definitive, ambitious, themes. Drug abuse is discussed in a non- Weill, and dozens more. meticulously-researched volume presents judgmental fashion as a character flaw that Sullivan writes with extraordinary a vivid account of Elvis’s life, career, death, ultimately dampened the genius of Bill insight of the lure of Broadway and and continuing influence. Brown and Evans and sometimes affected his perfor- Hollywood for such composers as Weill, Broeske interviewed more than three mances. Korngold, and Britten, and most impres- hundred people, and pored over numer- The real strength of this book is sively about the influence of jazz on ous documents, including the never- Pettinger’s analysis of the compositions and Stravinsky, Bartok, Walton, and others. before-seen 600-page, court-ordered technique of Evans’ recorded performances. Although Sullivan’s book is not com- portrait of the final years of Presley’s life. As a trained pianist he places Evans’ jazz prehensive (e.g., he does not include Brown and Broeske have also enriched and classical background into the context America’s experimental avant-garde), he this biography with 32 pages of of his music and the countless other does illuminate one of the most important photographs of Elvis, some never before legendary jazz artists with whom he and overlooked aspects of American cul- published. worked. His descriptions of the various trio ture in New World Symphonies, a fasci- configurations help the reader understand nating, provocative study written for the the role of “sidemen” in a small combo FILM COMPOSERS IN AMERICA: A general reader as well as the scholar, and setting. An extensive discography is FILMOGRAPHY 1911-1970. 2nd ed. By for the literary as well as the musical included and is helpful in allowing the Clifford McCarty. New York: Oxford enthusiast. reader to group the various trios into their University Press, 2000. ISBN 0-19-511473- respective periods in his career. 6. Pp. viii, 534. $75.00. Ultimately Bill Evans: How My Heart Sings In Film Composers in America, the can be enjoyed on many levels. Peter renowned film scholar Clifford McCarty Pettinger has written a biography that not continued on page 82

The Bulletin for the Society for American Music • Vol. XXVI, No. 2/3 81 “Reviews of Books” continued from page 81 OBITUARIES attempts to identify every known composer who wrote background musical scores for films in the United States between 1911 and William W. Austin (1920-2000), the Margaret Harris (1944-2000) A few 1970. McCarty presents information on Given Foundation Professor of Musicology days before Vivian Fine’s death, a much approximately 20,000 films, spanning all emeritus at Cornell University, died at his younger woman, Margaret Harris, died at types of American films, from features, home in Ithaca, 15 March at the age of 80. the age of 56. The first black woman to shorts, cartoons, and documentaries to Austin joined the Cornell faculty in 1947; conduct the symphony orchestras of nontheatrical works, avant-garde films, and he served as head of Cornell’s music Detroit, Chicago, Los Angeles, St. Louis, even trailers. department from 1958 to 1963. Minnesota, and 11 other American cities, McCarty corresponded with or inter- An internationally respected musicolo- she, too, was a piano prodigy. At 10 she viewed hundreds of composers, arrangers, gist, Austin received some of the most cov- performed with the Chicago Symphony orchestrators, musical directors, and music eted prizes in his field, including the E.J. and won a scholarship to the Curtis librarians. He also conducted extensive Dent Prize from the International Institute. She later earned Bachelors and research in the archives of the seven largest Musicology Society and the Otto Kinkeldey Masters degrees from Juilliard. She gained film studios: Columbia, MGM, Paramount, Prize of the American Musicology Society prominence also on Broadway, where she RKO, 20th Century Fox, Universal, and for his influential book Music in the was musical director of Hair, conducting Warner Brothers. In this volume, McCarty Twentieth Century: From Debussy to an orchestra of seven men, all older than documents the work of more than 1,500 Stravinsky (Norton, 1966). He also she. She also composed two ballets, the composers, from Robert Abramson to authored Susanna, Jeanie and the Old opera King David, and two piano concer- Josiah Zoro, including the first to score an Folks at Home: Songs of Stephen C. Foster tos, among other works. A month before American film, Walter C. Simon. McCarty From His Time to Ours (1975), a study of her death she was appointed associate also provides an index that allows readers Foster’s songs and their cultural signifi- dean of the Pennsylvania Academy of to quickly find the composer for any cance. Austin also collaborated on sever- Music in Lancaster, a job she was to begin American film through 1970. Film al important books, including New Looks in June. Composers in America is a welcomed tool at Italian Opera (1968, Cornell), and for serious students of film and a treasure Debussy’s ‘Prelude l’aprs-midi d’un faune’ trove for film fans. (1970, Norton), and he authored numer- —Sherrill V. Martin ous articles for Music Quarterly and Music University of North Carolina Review and was a contributor to Groves at Greensboro Dictionary of Music and Musicians. In 1961, Austin received a Guggenheim Fellowship and was an honorary member of the American Musicology Society, the society’s highest honor.

82 The Bulletin for the Society for American Music • Vol. XXVI, No. 2/3 SOME RECENT ARTICLES AND REVIEWS

Joice Waterhouse Gibson, University of Colorado at Boulder

ACOUSTIC GUITAR (Aug 00): David Never Strictly Genteel,” 12; Richard BLUES ACCESS (Sp 00): Nadine Cohodas, Simons, “Rock Foundation [Everly Traubner, “The Bible at Bam: Kurt Weill’s “Spinning Blues into Gold: The Chess Brothers Brothers],” 54. (Nov 00): Steve Boisson, Eternal Road Returns,” 31; Paul Moor, and the Legendary Chess Records,” 12. “Passion Plays: Ian Anderson’s three “Weill’s Kuhhandel: a premiere production decades of visual songwriting with Jethro in need of help,” 32. BLUES REVIEW (Sep 00): Scott Jordan, Tull,” 86. “Henry Butler: Bop, Boogie & Barrelhouse AMERICAN STRING TEACHER (May 00): [jazz, ragtime, classical and Caribbean inﬂu- AMERICAN MUSIC RESEARCH CENTER William Terwilliger, “An Undiscovered ences],” 25. (Oct 00): Tom Hyslop, “John JOURNAL (98-99): Robert R. Fink, “A Repertoire: Copland’s Complete Works for Primer: A Blues Life [sideman of Muddy Dedication to William Kearns and American Violin and Piano,” 78. Waters],” 27. Music,” 1; William Kearns, “MUSA: An American Monument,” 7; Thomas L. Riis, ASSOCIATION FOR RECORDED SOUND BRITISH JOURNAL OF MUSIC EDUCA- “The Glenn Miller Mystery: An Interview COLLECTIONS JOURNAL (Sp 00): TION (July 00): Rev. of Peter Mason, with William Suitts and Alan Cass,” 19; Ariel Frederick Williams, “Giuseppe Creatore: Bacchanal! The Carnival Culture of A. Downing, “Music as Artifact: The Johnson Flambouyant Genius of the Concert Stage,” Trinidad, by Vic Gammon, 209. County War Ballads,” 35; Rodney Sauer, 1 and “Giuseppe Creatore [1871-1952]: “Photoplay Music: A Reusable Repertory for Discography,” 37; Tim Brooks, “Early THE BULLETIN OF HISTORICAL Silent Film Scoring, 1914-1929,” 55; Ann B. Recordings of Songs from Florodora: Tell RESEARCH IN MUSIC EDUCATION (Sp Reagan, “Eugene Luening, German Me, Pretty Maiden...Who Are You?—A 99): Rev. of Sondra Wieland Howe, Luther American-Musician—The Milwaukee Discographical Mystery,” 51 and “Florodora Whiting Mason: International Music Germans and die heilige deutsche Kunst Recordings (1901-1902): Discography,” 65; Educator, by George N. Heller, 82. (Holy German Art),” 77; Gisele Glover, “The rev. of Geoffrey Wheeler, Jazz By Mail: Life and Career of Edward Boatner and an Record Clubs and Record Labels, 1936-1958, CANADIAN FOLK MUSIC BULLETIN Inventory of the Boatner Papers at the by Jack Litchfield, 117; rev. of Michael (Mar/June 00): Sherry Johnson, “Gender Schomburg Center,” 89; Bart Platenga, “Will Tisserand, The Kingdom of Zydeco, by Consciousness Among Women Fiddlers in There Be Yodeling in Heaven?”, 107. Richard Spottswood, 119; rev. of Rick Ontario Fiddle Contests,” 3; Jim Hiscott, Kennedy and Randy McNutt, Little Labels— “Inuit Accordion Music—A Better Kept AMERICAN MUSIC TEACHER (Apr/May Big Sounds: Small Record Companies and Secret,”16. 00): Joseph Rezits, “Howard Wells: ‘The the Rise of American Music, by Tim Brooks, Most Special Teacher of Them All,’” 22. 120; rev. of Timothy C. Fabrizio and George CANADIAN UNIVERSITY MUSIC REVIEW (Aug/Sep 00): Reed Sampson, “For F. Paul, Antique Phonograph Gadgets, (20/1, 99): John Beckwith, “CUMS Barbershoppers, the Music Never Ends Gizmos & Gimmicks, by Tim Brooks, 124. Remembered/Souvenirs de la SMUC,” 1; rev. [history of SPEBSQSA],” 38. of Robin Elliott, Counterpoint to a City: The BASS WORLD (Sum 00): Joëlle Morton, First One Hundred Years of the Women’s THE AMERICAN ORGANIST (May 00): Nancy Merriam, “The Adventures of Jon Musical Club of Toronto, by Glenn Colton, John D. Witvliet, “The Blessing and Bane of Deak,” 16. 101; rev. of Diane E. Peters, Canadian the North American Megachurch,” 50. (July Music and Music Education: An Annotated 00): Marilyn Perkins Biery, “New Music for BLACK MUSIC RESEARCH JOURNAL (Sp Bibliography of Theses and Dissertations, by Organ at the End of the Twentieth Century 99): Wayne D. Shirley, “Religion in Rhythm: Glenn Colton, 104. [Libby Larsen],” 76. (Sep 00): Marilyn Perkins William Grant Still’s Orchestrations for Biery, “New Music for Organ at the End of Willard Robison’s Deep River Hour,” 1; John CENTER FOR BLACK MUSIC RESEARCH the Twentieth Century [Emily Maxson Andrew Johnson, “William Dawson, ‘The DIGEST (Sp 00): Edward A. Berlin, “On Porter],” 50. New Negro,’ and His Folk Idiom,” 43; Jeffrey Ragtime: Review of The Rag-Time Magee, “Fletcher Henderson, Composer: A Ephemeralist,” 8; Elizabeth Sayre, “Cuban THE AMERICAN RECORDER (Sep 00): Counter-Entry to the International Batá Drumming and Women Musicians: An Scott Paterson, “Anthony Burgess: The Man Dictionary of Black Composers,” 61; Timothy Open Question,” 12. and His Recorder Music,” 11. Rommen, “Home Sweet Home: Junkanoo as National Discourse in the Bahamas,” 71; CHAMBER MUSIC (Apr 00): Kyle Gann, AMERICAN RECORD GUIDE (Mar 00): Sherrie Tucker, “The Prairie View Co-Eds: “American Composer: George Tsontakis,” Molly Gia Foresta, “Playing Fiddle with Black College Women Musicians in Class 39. (June 00): Kyle Gann, “American Meryl Streep,” 9; Jack Sullivan, “Sounding and on the Road during World War II,” 93. Composer: Arthur Jarvinen,” 39. (Aug 00): the Unconscious [Hitchcock’s ﬁlm music],” Kyle Gann, “American Composer: Elodie 20. (May 00): Richard S. Ginell, “Revueltas Lauten,” 25. Revived,” 9; John Fleming, “Frank Zappa: continued on page 84

The Bulletin for the Society for American Music • Vol. XXVI, No. 2/3 83 “Recent Articles and Reviews” continued from page 83 Robert A Stebbins, The Barbershop Singer: A. Berlin, 6; rev. of Philip Lambert, Ives CHORAL JOURNAL (Apr 00): Teresa Inside the World of a Musical Hobby, by Studies, by Tom C. Owen, 8; rev. of Bowers, “The Golden Age of Choral Music Gage Averill, 341; rev. of video, Plenty of Jonathan Bernard, ed., Elliott Carter: in the Cathedrals of Colonial Mexico,” 9. Good Women Dancers: African American Collected Essays and Lectures, 1937-1995, (Aug 00): Fritz Mountford, “Fred Waring’s Women Hoofers from Philadelphia, by Kyra by Judy Lochhead, 11. Tone Syllables: His Legacy to American D. Gaunt, 359. Choral Singing,” 8. THE INSTRUMENTALIST (Mar 00): Kathleen EX TEMPORE (Sum 98): Rosário Santana, Goll-Wilson, “I Could Have Laughed All Night CLASSICAL CD (June 00): Jeremy Pound, “Musical Discourse and Rhythm in Elliott [P.D.Q. Bach],” 32; Robert Foster, “Community “Composer Interview: John Tavener,” 38. Carter,” 37; Brenda Ravenscroft, “The Bands Thrive From Coast to Coast,” 38. (May (Oct 00): Simon Trezise, “The Musician for Anatomy of a Song: Text and Texture in 00): Joseph E. Maddy, “Early American School Our Time [Leonard Bernstein],” 42. Elliot Carter’s ‘O Breath,’” 84. and College Bands,” 86. (June 00): William Kenny, “The Joys of Playing Ragtime Music,” COMPUTER MUSIC JOURNAL (Sum 00): FANFARE (May/June 00): Raymond Tuttle, 34. (Sep 00): Michael Johns, “A History of Trevor Wishart, “Sonic Composition in “Star-Child’s Father: George Crumb Turns Brass Ensembles,” 72. (Oct 00): Jeffrey Tongues of Fire,” 22. 70,” 84; rev. of John Ardoin, ed., The Renshaw, “Seating Bands for the Music: Philadelphia Orchestra: A Century of Music, Musical Chairs for Artistic Goals [historical],” CURRENT MUSICOLOGY (63/1999): Brian by James Miller, 327. 18; Frederick Fennell, “The History of Harker, “‘Telling a Story’: Louis Armstrong American Bands,” 66. and Coherence in Early Jazz,” 46; rev. of FILM SCORE MONTHLY (Jan 00): Various Andrew Meac, An Introduction to the Music articles about John Williams’s music for INTERNATIONAL ALLIANCE FOR of Milton Babbitt, by Jason Eckardt, 84; rev. Superman. (Feb 00): Nick Redman, “Music WOMEN IN MUSIC JOURNAL (Win 00): of Susie J. Tanenbaum, Underground by Jerry Fielding,” 24. (May 00): Jonathan Florence Aquilina, “An Interview with Harmonies: Music and Politics in the Z. Kaplan, “Tora! Tora! Tora!: An Analysis Jennifer Higdon,” 1; Magaly Ruiz, “Women Subways of New York, by Stephen Mamula, of [Jerry] Goldsmith’s Musical Strategy,” 34. and Classical Music in Cuba,” 4; Ruth 116; rev. of Martha Bayles, Hole in Our Soul: Schonthal, “Ruth Schonthal: A 75th Birthday The Loss of Beauty and Meaning in GUITAR REVIEW (Win 00): Brian Hodel, Celebration,” 7; rev. of Adrienne Fried American Popular Music, by Daniel N. “20th Century Music and the Guitar [incl. Block, Amy Beach, Passionate Victorian, by Thompson, 122. American composers],” 8. Sylvia Glickman, 14; Lydia Ledeen, “Remembering Amy Beach: A Conversation THE DIAPASON (Sep 00): R. E. Coleberd, GRAMOPHONE (July 00): Bradley with David Buxbaum,” 17; rev. of Cyrilla “Three Kimball Pipe Organs in Missouri,” 16. Bambarger, “Bernstein: Ten years after,” 8. Barr, Elizabeth Sprague Coolidge: American Patron of Music, by June Ottenberg, 52. DIRTY LINEN (Aug/Sep 00): Steve Winick, HARMONY: FORUM OF THE “Anglo Lomax: English-Language song from SYMPHONY ORCHESTRA INSTITUTE INTER-AMERICAN MUSIC REVIEW (Sp- the Alan Lomax Collection,” 68. (Apr 00): Joel Mandelbaum, “The American Sum 00): Tribute to John Beckwith, 1; Ismael Composers Orchestra,” 47. Fernández de la Cuesta, “Spanish Plainchant DOUBLE BASSIST (Fall 00): John Fordham, Publications to 1601,” 3; “Cathedral Music in “Bass Greats: Basie’s Walter Page,”17. THE HYMN (July 00): Dennis M. Weber, Montreal: Historical Precedents, Part I,” 25; “The Transition of the Cantus Firmus from John Koegel, “Manuel Y. Ferrer and Miguel THE DOUBLE REED (23/2, 00): Robert the Tenor to the Soprano in Anglo-American S. Arévalo: Premier Guitarist-Composers in Starner, “The Introduction of Double Reeds Hymnody,” 11; Brian C. Brewer, “Hymns of Nineteenth-Century California,” 45; “New to New Mexico 1624-1633,” 73. Invitation in the Baptist Tradition: A Light on Two Maximum Mexican Composers: Historical and Theological Comparison of Coloquio Internacional Centenario de Carlos ETHNOMUSICOLOGY (Win 00): Peter American and Southern Baptist Hymns,” 28. Chávez y Silvestre Revueltas (1899-1999),” 67; Manuel, “The Construction of a Diasporic Victor Barletta, “Renaissance and Baroque Tradition: Indo-Caribbean ‘Local Classical INSTITUTE FOR STUDIES IN AMERICAN Musical Sources in the Americas, Name Music,’” 97; rev. of Lorna McDaniel, The Big MUSIC NEWSLETTER (Fall 99): Howard Index,” 71; rev. of Arthur J. O. Anderson, Drum Ritual of Carriacou: Praisesongs in Pollack, “Copland’s Hope for American trans., Bernardino de Sahagún’s Psalmodia Rememory of Flight, by Rebecca S. Miller, Music,” 1; Maya Gibson, “Rethinking Race Christtana (Christian Psalmody), 93; rev. of 172. (Sp/Sum 00): Tara Browner, “Making in Nineteenth-Century Minstrelsy,” 4; David Oscar Mazín Gómez, ed., Archivo capitular and Singing Pow-wow Songs: Text, Form, Evans, “Demythologizing the Blues,” 8; rev. de Administración Diocesana Valladolid- and the Significance of Culture-based of Adrienne Fried Block, Amy Beach, Morelia, Catálogo, 100; rev. of Gabriel Analysis,” 214; rev. of Robin D. Moore, Passionate Victorian: The Life and Work of Pareyón, Clemente Aguirre (1828-1900): Nationalizing Blackness: Afrocubanismo an American Composer, by Laurie Blunsom, Semblanza, tabla de obras musicalles y collec- and Artistic Revolution in Havana, 1920- 11. (Sp 00): Guthrie P. Ransey, Jr., “The Muze ción editada de partituras, 1, 104; rev. of 1940, by Julian Gerstin; rev. of Frances R. ‘N the Hood: Musical Practice & Film in the Ricardo Miranda, Manuel M. Ponce: Ensayo Aparicio, Listening to Salsa: Gender, Latin Age of Hip Hop,” 1; rev. of David A. Jasen sobre su vida y obra, 105; rev. of Carlos Popular Music, and Puerto Rican Culture, and Gene Jones, Spreadin’ Rhythm Around: Chávez, ed., Música Revista Mexicana, 110; by Marisol Berríos-Miranda, 336; rev. of Popular Songwriters, 1880-1930, by Edward rev. of José Antonio Robles Cahero, ed.,

84 The Bulletin for the Society for American Music • Vol. XXVI, No. 2/3 Heterofonía Revista de investigación musical, Publishing Firm, 1; Robert J. Meaux, “A “Musical Decay: Luciano Berio’s Rendering 110; rev. of John Beckwith, Music Papers, Selected Bibliography of the Marching and John Cage’s Europera 5,” 93. Articles and Talks by a Canadian Composer Band: 1980-1998,” 75. 1961-1994 [NB: Title erroneously listed as LIVING BLUES (Mar/Apr 00): Brett Bonner, More Papers...], 116. JOURNAL OF HISTORICAL RESEARCH “Taj Mahal: The easiest thing to carry around IN MUSIC EDUCATION (Oct 99): Carolyn with you in this life is knowledge,” 30; Tom INTERNATIONAL ASSOC. OF JAZZ Livingston, “The WPA Music Program as Freeland, “Robert Johnson: Some Witnesses RECORD COLLECTORS JOURNAL (Win Exemplified in the Career of Charles to a Short Life,” 42; John Anthony Brisbin, 00): Rev. of Tom Lord, The Jazz Faulkner Bryan,” 3; Steven N. Kelly, “John “Jay McShann: Music Was A Good Life!”, 50; Discography, Vol. 22, by Russ Chase; rev. of Barnes Chance and His Contributions to Chris Thomas King, “Blues at 2000: A Forum Lee Tanner, Images of Jazz, Lee Tanner and Music Education,” 21; Michael D. Martin, on the State of the Blues [various inter- Lee Hildebrand, Images of the Blues, Scott “Band Schools of the United States: A views],” 56. (May/June 00): David Nelson, Yanow, Duke Ellington, [iconographies], by Historical Overview,” 41; Blair L. Martin, “Joe Louis Walker: ‘I’ve Always Been Stuart Kremsky, 81. (Sp 00): Rolf Ljungquist, “The Influence and Function of Shape Notes Restless Musician,’” 14; Bill Dahl, “Gene “Some Notes on Charlie Parker and and Singing Schools in the Twentieth ‘Daddy G’ Barge: The Soulful Saxophone,” Sweden,” 28; rev. of Warren W. Vaché, Jazz Century: An Historical Study of the Church 22; John Anthony Brisbin, “A Tribute to Gentry, Aristocrats of the Music World, by of God,” 62; rev. of Sondra Wieland Howe, Eddie Taylor,” 32. (July 00): Guido Van Rijn, Russ Chase, 87; rev. of Linda Dahl, Morning Luther Whiting Mason: International Music “Reverend J. M Gates,” 48, “Reverend Glory: A Biography of Mary Lou Williams, Educator, by Marie McCarthy, 101. ‘Gatemouth’ Moore,” 52, “Georgia Tom by Stuart Kremsky, 88; rev. of Eddie Dorsey,” 53. Lambert, Duke Ellington: A Listener’s Guide, JOURNAL OF THE AMERICAN MUSICAL by Russ Chase, 88; rev. of Christopher Page, INSTRUMENT SOCIETY (XXV/1999): Peter MODERN DRUMMER (July 00): Mike De Boogie Woogie Stomp: Albert Ammons and Spohr, “Some Early American Boehm Simone, “Mel Lewis [big band],” 124. (Nov His Music, by Russ Chase, 89. (Sum 00): Flutes,” 5; rev. of Robert F. Gellerman, The 00): Jim Payne, “Tito Puente: Tribute to a Michael P. Zirpolo, “In Duke’s [Ellington] American Reed Organ and the Harmonium: King,” 76. Head,” 19. A Treatise on its History, Restoration and Tuning, with Descriptions of Some MORAVIAN MUSIC JOURNAL (Sp 00): INTERNATIONAL TRUMPET GUILD Outstanding Collections, 148. (XXVI, 2000): Albert H. Frank, “Johann Christian Bechler,” JOURNAL (Mar 00): John La Barbera, William E. Hettrick, “The Dolceola: A Story 3; Jewel Smith, “Moravian music, women, “Maynard Ferguson: The King,” 6; William of Musical Enterprise in Toledo, Ohio,” 141. and pianos,” 5; C. Daniel Crews, “Johann F. Lee III, “A Maynard [Ferguson] Snapshot,” Friedrich Peter,” 7; Paul Larson, “Till, father 23; Keith Winking, “Ray Crisara: Teaching JOURNAL OF THE AMERICAN MUSICO- and son,” 9; Nola Reed Knouse, “Music by Example,” 33; Jack Burt, compiler, LOGICAL SOCIETY (Fall 99): Rev. of notation,” 9; Trudi Vorp, “Moravian “Uncommon Man, Uncommon Musician: Joseph N. Straus, The Music of Ruth hymnody,” 11; Nola Reed Knouse, Tributes to Ray Crisara from Colleagues and Crawford Seeger, by Jeffrey Stadelman, 634. “Summary: Reflections on Moravian Music Students,” 40; rev. of William F. Lee, MF (Sp 00): Amy C. Beal, “Negotiating Cultural Research,” 14. Horn: Maynard Ferguson’s Life in Music, Allies: American Music in Darmstadt, 1946- by Kelly Rossum. (June 00): Ralph 1956,” 105; rev. of Dale Cockrell, Demons MUSIC ANALYSIS (Mar 00): Bob Gilmore, Dudgeon, “Credit Where Credit is Due: The of Disorder: Early Blackface Minstrels and “Reinventing Ives,” 101. Life and Brass Teaching of Donald S. Their World, W. T. Lhamon, Jr., Raising Reinhardt,” 26; Stephen L. Glover, “Robert Cain: Blackface Performance from Jim Crow MUSIC AND LETTERS (Feb 00): Rev. of Alan King: Brass Music Advocate and Publishing to Hip Hop, and William J. Mahar, Behind H. Levy, Edward McDowell: an American Icon,” 43. (Oct 00): Michael Caldwell, “There the Burnt Cork Mask: Early Blackface Music, and Adrienne Fried Block, Amy Will Never Be Another Doc: An Interview Minstrelsy and Antebellum American Beach, Passionate Victorian: The Life and with the Incomparable Doc Severinsen Popular Culture, by Charles Hamm, 165; Work of an American Composer, by Peter [historical info],” 37. rev. of Howard Pollack, Aaron Copland: Dickinson, 132. (May 00): Rev. of Cyrilla Barr, The Life and Work of an Uncommon Man, Elizabeth Sprague Coolidge: American Patron JAZZ EDUCATORS JOURNAL (July 00): by David Nicholls, 191. of Music, by Carol J. Oja, 326; rev. of Leta E. Kevin Whitehead, “Jazz: The First Century, Miller, Lou Harrison: Composing a World, by 39. (Sep 00): Michael Rossi, “[Dr.William] JOURNAL OF MUSIC THEORY (Fall 99): Bob Gilmore, 339; rev. of Simon Frith, Prince is a Prince [jazz history],” 34. Steven Strunk, “Chick Corea’s 1984 Performing Rites: Evaluating Popular Music, Performance of ‘Night and Day,’” 257; Steve by Dai Griffiths, 343. JOURNAL OF ARTS MANAGEMENT, LAW Larson, “Swing and Motive in Three AND SOCIETY (Sp 00): Rev. of William Performances by Oscar Peterson,” 283; MUSIC EDUCATORS JOURNAL (Mar 00): Westbrook Burton, Conversations About Matthew Shaftel, “From Inspiration to Michael L. Mark, “From Tanglewood to Bernstein, by Joseph Wesley Zeigler, 73. Archive: Cole Porter’s ‘Night and Day,’” 315. Tallahassee in 32 Years,” 25; Jon R. Piersol, “Wiley Housewright on Music’s Changing JOURNAL OF BAND RESEARCH (Sp 00): JOURNAL OF THE ROYAL MUSICAL Times,” 29. Lavern J. Wagner, “Music for America’s ASSOCIATION (Part 1, 00): David Metzer, Hometown Bands: Tracing the Southwell continued on page 86

The Bulletin for the Society for American Music • Vol. XXVI, No. 2/3 85 “Recent Articles & Reviews” continued from page 85 Preston, 717; rev. of Wayne Schneider, The (Sum 00): Jim McPherson, “Before the Met: Gershwin Style: New Looks at the Music of The Pioneer Days of Radio Opera, Part 3, MUSIC TEACHER (Sep 00): Joan Upton- George Gershwin, by Sandra Barnes, 722; Cesare Sodero, the Music Man,” 407. Holder, “Out of the Archive,” 23. rev. of Howard Pollack, Aaron Copland: The Life and Work of an Uncommon Man, OPERNWELT (June 00): Robert Hilferty, THE MUSICAL QUARTERLY (Fall 99): by Larry Starr, 724; rev. of Bob Gilmore, “Was es bedeutet, Amerikaner zu sein [Virgil Joseph N. Strauss, “The Myth of Serial Harry Partch: A Biography, by Carol J. Oja, Thomson’s and Gertrude Stein’s ‘The Mother ‘Tyranny’ in the 1950s and 1960s,” 301. (Win 726; rev. of Christopher Shultis, Silencing of Us All’ in New York],” 64. 99): Tammy L. Kernodle, “Arias, the Sounded Self: John Cage and the Communists, and Conspiracies: The History American Experimental Tradition, by Paul ORCHESTER (Apr 00): Hans-Jürgen Schaal, of Still’s Troubled Island,” 487; Arved Ashby, van Emmerik, 729; rev. of Taylor Aitken “Kurt Weill—zwischen Brecht und “Frank Zappa and the Anti-Fetishist Greer, A Question of Balance: Charles Broadway,” 2. Orchestra,” 557. Seeger’s Philosophy of Music, by Stephen Blum, 731; rev. of William Howland THE ORGAN (Aug-Oct 00): Lucius THE MUSIC TIMES (Sum 00): Stephen Kenney, Recorded Music in American Life: Weathersby, “Out of Africa: An Introduction Banfield, “That’s Entertainment: Three The Phonograph and Popular Memory, to the Organ Music of African and African- Recently Published Perspectives on the 1890-1945, by B. Lee Cooper, 733; rev. of American Composers,” 125. Broadway Sound,” 48; rev. of Howard Pollack, Betty N. Smith, Jane Hicks Gentry: A Singer Aaron Copland: The Life and Work of an Among Singers, by Chris Goertzen, 738. (Sep PANPIPES (Sp 00): Adrienne Provenzano, Uncommon Man, by Robin Holloway, 51. 00): George Boziwick, “Henry Cowell at the “Help Your Students Learn About Women New York Public Library: A Whole World of Composers [multimedia resource kits, incl. MUSICWORKS (Sum 00): Rev. of Paul Bley, Music,” 46; rev. of James B. Sinclair, A many American women composers],” 6. Stopping Time: Paul Bley and the Descriptive Catalogue of the Music of Charles Transformation of Jazz, by David Ives, by David Nicholls, 114; rev. of Vera PERCUSSIVE NOTES (Apr 99): Terry Rothenberg, 59. Brodsky Lawrence, Strong on Music: The Gunderson, “Discography of New York Music Scene in the Days of George Unaccompanied Jazz Vibraphone,” 48. NATIONAL ASSOCIATION OF COLLEGE Templeton Strong, Vol. 3: Repercussions, (June 00): Lauren Vogel Weiss, WIND AND PERCUSSION INSTRUCTORS 1857-1862, by John Graziano, 131; rev. of “Répercussion: Canadian Crusaders,” 6. (Sp 00): Daniel Adams, “Recent Solo Geneva Handy Southall, Blind Tom, the Timpani Compositions and the Influence of Black Pianist-Composer (1849-1908), by THE PERFORMING SONGWRITER (Mar Elliott Carter’s Eight Pieces for Four Brian Thompson, 133; rev. of Henry 00): Paul Zollo, “Pete Seeger,” 81. Timpani,” 4. Townsend and Bill Greensmith, A Blues Life, by Jane Bowers, 153; rev. of Albert Fuller, PHILOSOPHY OF MUSIC EDUCATION 19TH CENTURY MUSIC (Fall 99): Gayle Alice Tully: An Intimate Portrait, by REVIEW (Sp 00): Andrea Boyea, “Teaching Sherwood, “‘Buds the Infant Mind’: Charles Elizabeth L. Keathley, 155; rev. of Mavis Native American Music With Story for Ives’s The Celestial Country and American Bayton, Frock Rock: Women Performing Multicultural Ends,” 14. Protestant Choral Traditions,” 163. Popular Music, by Kate Daubney, 159; rev. of Jeff Smith, The Sounds of Commerce: PIANO & KEYBOARD (May/June 00): NOTES: QUARTERLY JOURNAL OF THE Marketing Popular Film Music, by Robynn Linda Holzer, “From Somber to Samba [Ellen MUSIC LIBRARY ASSOC. (Mar 00): Rev. of J. Stillwell, 163. Taafe Zwilich],” 36. Lewis A. Erenberg, Swingin’ the Dream: Big Band Jazz and the Rebirth of American OPERA (June 00): Patrick J. Smith, “‘Nixon’ POPULAR MUSIC (Jan 00): Mark Duffett, Culture, by Jeffrey Magee, 668; rev. of in London,” 637. (Oct 00): Martin “Going down like a song: national identity, Robert G. O’Meally, The Jazz Cadence of Bernheimer, “What opera? What America?”, global commerce and the Great Canadian American Culture, by Burton W. Peretti, 1147; Jack Sullivan, “Operas for a New Party,” 1; Murray Forman, “‘Represent’: race, 671; rev. of Brian Ward, Just My Soul World,” 1173; Peter Davis, “The American space and place in rap music,” 65. Responding: Rhythm and Blues, Black singer,” 1180. Consciousness, and Race Relations, by Kyra POPULAR MUSIC AND SOCIETY (Sp 00): D. Gaunt, 673; rev. of Dale A. Olsen and THE OPERA JOURNAL (Mar 00): Rev. of Juanita Karpt, “Populism with Religious Daniel E. Sheehy, eds. South America, John Rockwell, All American Music: Restraint: William B. Bradbury’s Esther, the Mexico, Central America, and the Composition in the Late Twentieth Century, Beautiful Queen,” 1; Joshua Gunn, “Gothic Caribbean, by Walter Aaron Clark, 685; rev. by Charles S. Freeman, 39. Music and the Inevitability of Genre,” 31; of Mark N. Grant, Maestros of the Pen: A John M. Sloop, “The Emperor’s New History of Classical Music Criticism in OPERA NEWS (July 00): Joan Peyser, “The Makeup: Cool Cynicism and Popular Music America, by Karen Ahlquist, 691; rev. of Bill Bernstein Legacy,” 22. Criticism,” 51; Steve Waksman, “Black F. Faucett, George Whitefield Chadwick: A Sound, Black Body: Jimi Hendrix, the Bio-bibliography, by Wilma Reid Cipolla, THE OPERA QUARTERLY (Sp 00): Jim Electric Guitar, and the Meaning of 699; rev. of Karen Ahlquist, Democracy at McPherson, “Before the Met: The Pioneer Blackness,” 75; rev. of Sister Souljah, No the Opera: Music, Theater, and Culture in Days of Radio Opera—Part 2, The NBC Disrespect, by Gary Burns, 115; rev. of New York City, 1815-60, by Katherine K. National Grand Opera Company,” 204. Hernando Calvo Ospina, Salsa! Havana

86 The Bulletin for the Society for American Music • Vol. XXVI, No. 2/3 Heat, Bronx Beat, by George Plasketes, 116; 103; rev. of Deborah Pacini Hernandez, MacDonald, “Statements and Connotations: rev. of Joli Jensen, The Nashville Sound: Bachata: A Social History of a Dominican Copland the Symphonist,” 26. Authenticity, Commercialization, and Popular Music, by Donna Goldstein, 105; Country Music, and Richard A Peterson, rev. of Ruth Sheldon, Bob Wills: Hubbin’ It, THE TRACKER (43/4, 99): Richard Weber, Creating Country Music: Fabricating by Robert G. Weiner, 108; rev. of Ronald L. “St. Bernard’s Church, Watertown, Authenticity, by B. Lee Cooper, 118; rev. of Smith, Goldmine Comedy Record Price Wisconsin: Its Music, Musicians, and Guy A. Marco, Literature of American Music Guide, by B. Lee Cooper, 110; rev. of Bill Organs,” 10; John Bishop, “The Stoneham III, and Checklist of Writings on American Griggs, Buddy Holly—His Songs and Organ,” 18. Music, by B. Lee Cooper, 120. (Sum 00): Interviews: The Technical Stuff, by Robert Peter Mercer-Taylor, “Two-and-a-Half G. Weiner, 111; rev. of Philip Norman, Rave 21ST CENTURY MUSIC (Jan 00): Mark Centuries in the Life of a Hook,” 1; Joe Gow, On: The Biography of Buddy Holly, by B. Alburger, “Interview with John Luther “Rockin’, Rappin’, and Religion: Lee Cooper, 112; rev. of Stephen Banﬁeld, Adams,” 1; Jeff Dunn, “Interview with Judith Programming Strategy on Z Music Sondheim’s Broadway Musicals, and Philip Lang Zaimont,” 13; Richard Kostelanetz, Television,” 17; Frank W. Oglesbee, “Suzi Furia, Ira Gershwin: The Art of the Lyricist, “John Cage: The Text Pieces I,” 23. (Mar 00): Quatro: A Prototype in the Archsheology of by Timothy E. Scheurer, 113; rev. of Keith Andrew Shapiro, “Interview with Michael Rock,” 29; Mike Butler, “‘Luther King Was A Negus, Popular Music in Theory, by Glenn Riesman [Philip Glass Ensemble],” 1. (May Good Ole Boy’: The Southern Rock Pillsbury, 119; rev. of Charles Wolfe, In Close 00): Sabine M. Feisst, “Serving Two Masters: Movement and White Male Identity in the Harmony: The Story of the Louvin Brothers Leonard Rosenman’s Music for Films and Post-Civil Rights South,” 41; Neal Ullestad, [country music], by Don Cusic, 121; rev. of the Concert Hall,” 19. (June 00): Anton “American Indian Rap and Reggae: Dancing Krin Gabbard, Jammin’ at the Margins: Jazz Rovner, “Sessions with Joel Feigin,” 1; David ‘To the Beat of a Different Drummer,’” 63; and the American Cinema, by Neil Lerner, Bündler, “Some Questions for Augusta Read B. Lee Cooper and William L. Schurk, 122; rev. of Ronnie Pugh, Ernest Tubb: The Thomas,” 4; David Cleary, “The Boston “You’re the Cream in My Coffee: A Texas Troubadour, by Don Cusic, 124; rev. New-Music Scene: Present and Recent Past, Discography of Java Jive,” 91; George H. of Theodore Gracyk, Rhythm and Noise: An with Special Emphasis on Composers in Red Lewis, “Treasures Left Behind: Aesthetics of Rock, by B. Lee Cooper, 125. Sneakers,” 13. Remembering Kate Wolf,” 101; rev. of Ron Moore, Underground Sounds, by Gary PULSE! (Sep 00): Michael Jarrett, “Top of WOMEN OF NOTE QUARTERLY (Feb 00): Burns, 121; rev. of Alan Young, Woke Me Up the Pops [Louis Armstrong],” 24. Thomas Erdmann, “A Conversation with This Morning: Black Gospel Singers and the Libby Larsen,” 1. Gospel Life, by William D. Romanowski, 123; REVISTA MUSICA LATINO (Fall/Win 99): rev. of George Plasketes, Images of Elvis Ketty Wong, “Directory of Latin American THE WORLD OF MUSIC (41/3, 99): Vicki Presley in American Culture, 1977-1997, and Caribbean Music Theses and L. Brennan, “Chamber Music in the Barn: by George H. Lewis, 125; rev. of Isaac Dissertations (1992-1998),” 253; rev. of Tourism, Nostalgia, and the Reproduction Sequeira, Popular Culture: East and West, Yvonne Daniel, Rumba, Dance and Social of Social Class,” 11; Mark F. DeWitt, by Timothy E. Scheurer, 127; rev. of Tim Change in Contemporary Cuba, by Olavo “Heritage, Tradition, and Travel: Louisiana Neely, The Goldmine Standard Catalog of Alén Rodríguez, 313; rev. of Cristobal Diaz French Culture Placed on a California Dance American Records, 1950-1975, by B. Lee Ayala, Cuando salí de La Habana, 1898- Floor,” 57; Jeff Todd Titon, “‘The Real Thing’: Cooper, 128; rev. of Billy Poore, Rockabilly: 1997. Cien años de música cubana por el Tourism, Authenticity, and Pilgrimage A Forty-Year Journey, by B. Lee Cooper, 129. mundo, by Robin Moore, 319. among the Old Regular Baptists at the 1997 (Fall 99): Gary Burns, “Marilyn Manson and Smithsonian Folklife Festival,” 115; Martin the Apt Pupils of Littleton,” 3; George RHYTHM (June 00): Patricia Meschino, Stokes, “Music, Travel and Tourism: An Plasketes, “Things to Do in LIttleton When “The Marley Brothers: Shining Sons,” 24. Afterward,” 141; rev. of Frances R. Aparicio, You’re Dead: A Post Columbine Collage,” Listening to Salsa: Gender, Latin Popular 9; David Sanjek, “Paying the Cost to Be the SCHWANN OPUS (Sum 99): Matthew Music, and Puerto Rican Cultures, by J. Boss,” 25; Dick Weissman, “Some Thoughts Daines, “Michael Daugherty: Putting His Lawrence Witzleben, 161; rev. of Gage on the Columbine Shootings,” 29; Melinda Worlds Together,” 14A. Averill, A Day for the Hunter, A Day for the Morrow, “‘But Beavis, Everything Does Prey: Popular Music and Power in Haiti, by Suck’: Watching Beavis and Butt-head Watch SYMPHONY (Mar/Apr 00): Peter G. Davis, Suzel Ana Reily, 163. Videos,” 31; Laurence W. Etling, “Al Jarvis: “Leonard Bernstein’s Songfest,” 32; Chester Pioneer Disc Jockey,” 41; Scott R. Hutson, Lane, “A Voice for Children [American “Technoshamanism: Spiritual Healing in the composers],” 40. (May/June 00): Rebecca Rave Subculture,” 53; B. Lee Cooper and Winzenried, “A Tale of Two Cities [American Bill Schurk, “Singing, Smoking, and contemporary works],” 24; Alan Rich, “John Sentimentality: Cigarette Imagery in Adam’s Harmonium,” 28; Molly Sheridan, Contemporary Recordings,” 79; rev. of Roy “American Sound Redeﬁned [Brent Michael Shuker, Understanding Popular Music, by Davids],” 32. Tony Mitchell, 101; rev. of Kenneth J. Bindas, All of This Music Belongs to the TEMPO (Apr 00): Howard Pollack, Nation: The WPA’s Federal Music Project “Copland in Paris,” 2. (July 00): Calum and American Society, by Jerry Rodnitzky,

The Bulletin for the Society for American Music • Vol. XXVI, No. 2/3 87 Notes from the SAM Tickler File

Nominee for SAM Treasurer The nominee for Treasurer was inadvertently left off the ballot. George Keck is running uncontested. Should anyone be against George’s election to the ofﬁce, or would like to suggest a write-in candidate, please do so by February 2, 2001 to Mariana Whitmer. George R. Keck earned a Ph.D. degree in Musicology from the University of Iowa and is currently Addie Mae Maddox Professor of Music and Chair of the Department of Music History and Literature at Ouachita University in Arkadelphia, Arkansas. Author of Francis Poulenc: A Bio-Bibliography (Greenwood Press, 1988), co-editor (with Sherrill Martin) of Feel the Spirit: Studies in Nineteenth-Century African-American Music (Greenwood Press, 1990), and author of numerous articles on American music, the French Six, and Francis Poulenc. Member of SAM Membership Committee since 1988; current chair of the Honors Committee, and past editor (1993-97) of the Sonneck Society for American Music Bulletin. Twenty-seventh Conference, Society for American MusicÐ23-27 May 2001 The Society for American Music will hold its twenty-seventh conference in Port of Spain, Trinidad, Memorial Day weekend, 23-27 May 2001. See announcement elsewhere in this issue for more information or visit: http://american-music.org/confers.htm SAM Announces New Editors David Nicholls has been named the next editor of American Music. Philip Todd has been named the next editor of the Bulletin.

T HE B ULLETIN OF THE Nonproﬁt Org. S OCIETY FOR A MERICAN M USIC U.S. Postage PAID Boulder, CO Philip Todd P. O. Box 2456 Permit No. 94 Shawnee, OK 74804

Change Service Requested

Printed in USA