The Bulletin James All Fielded Softball Teams Comprised of Band Members to Play Charity Games, Some- Times at Major League Parks

Home , Jack Norworth, Vernacular Music Center

Count Basie said of the Kansas City Monarchs, “We went to see them play during the day, and they came to hear us at night” (Thorn). In New Orleans, Louis Armstrong financially supported black ballplayers on a semiprofessional team. Tommy Dorsey, Cab Calloway, and Harry The Bulletin James all fielded softball teams comprised of band members to play charity games, sometimes at major league parks. Theatrical pro- OF THE S OCIETY FOR A MERICAN M USIC ducer Harry Frazee owned the Red Sox from FOUNDED IN HONOR OF O SCAR G. T. SONNECK 1917 to 1923, and sold the rights to Babe Ruth to the Yankees in 1920–the Red Sox have not won a World Series since. Bing Vol. XXIX, No. 2 Summer 2003 Crosby was part owner of the Pittsburgh Pirates, and Al Jolson owned shares in the St. Louis Cardinals. Gene Autry founded the Take me out to the Ball Game: Los Angeles/California/Anaheim Angels in Baseball in Early American Song 1960 and owned the team until he sold it to The Walt Disney Company in 1996. by Matthew G. Doublestein Athletes, writers, singers, and other celebrities also played a role in marketing Today’s popular music industry is pri- during World War II. One such league, the Tin Pan Alley songs. They would pose for a marily concerned with record sales. The All-American Girls Professional Baseball cover photograph or lend an autograph in Billboard charts grade the popular appeal of League, is depicted in the 1992 film A hopes of encouraging more sales. Babe a record album from week to week. Before League of Their Own.2 Ruth’s picture and autograph appeared on the 1880s, however, the thrust of music pro- In 1876, the National Association was the cover of Irving Berlin’s Along Came Ruth. duction was to promote the sale of sheet formed (appropriately, perhaps, in the year Lou Gehrig appeared on the cover of music, thus fostering the growth of the of the American centennial), and in 1900 Charles Rosoff and Eddie Cherkose’s A American song publisher. Successful pub- the American Association came into being. Cowboy’s Life. Cupid even got into the act, lishing companies grew up in and around a Other professional leagues formed such as appearing at bat on the cover of Base Ball New York street nicknamed Tin Pan Alley. the Pacific Coast League, the Federal Game of Love by Edith Barbier and Arthur They published songs about popular topics League, and the International League. Longbrake. and, in this period of American history, few Negro leagues existed as well, some as early The National Game became so things were as popular as the game of base- as 1862. A few teams, such as the ingrained within the American culture that ball. Baseball’s place in American culture and Indianapolis Clowns, would “barnstorm” any sociable citizen knew how the game was specifically in Tin Pan Alley song is worth around the country, playing any teams that played. Terms like “strike out,” “batter up,” understanding, especially if one desires to would put up the money or food. and others made their way into convention- learn about the game’s influence on the arts.1 Fans came from all segments of society. al American English. Baseball became such a Baseball’s influence on the arts in the Once professional teams had formed, own- symbol of American life that the story of its United States is evident in the some 300 Tin ers and managers charged the public to creation by a Civil War hero, Abner Pan Alley-era songs whose texts are directly watch the game. Before the advent of Doubleday, was told so that the game would or indirectly about the game. In the 1840s, municipal stadiums, fans would sit on the not lose its distinctly American flavor. This baseball was played on the East Coast, pre- grass around the diamond or in temporary story is now known to be false. dominantly in New York City. Perhaps hav- wooden bleachers (which supposedly earned The movies, in their infantile stages in ing descended from the British game of their name because the planks would bleach the early 20th century, reflected this cultural Rounders, the game was played mostly by in the sun on game day). They even sat in emphasis on the sport. Movies like Baseball men. They formed gentlemen’s clubs devot- the outfield, and ballplayers would have to and Bloomers (1911), Baseball (1913), The ed to the game and the social interaction fight fans for the ball. Fans kept their eyes on Baseball Fan (1914), ‘Tis the Ball (1932), that accompanied it. A coal miners’ nine the box scores in the newspaper as well as the and Negro Leagues Baseball (1946) all might play a ship builders’ nine (teams were sports tickers and eventually became glued demonstrated the influence of baseball. called “nines” after the number of players on to radio broadcasts and televised games. Authors such as Ring Lardner and Eliot the field). After the game, the home team Baseball was a very large part of the local Asinof (brother of Isaac Asimov) wrote would provide a banquet and drinks. economy and culture. newspaper columns and novels about the According to baseball scholarship, the first Professional musicians and other artists sport. Salvador Dali painted test cells for a such men’s club was the New York were actively involved in the sport and in the segment of the 1940 release of Fantasia Knickerbocker Base Ball club, formed in business of baseball. John Philip Sousa’s about baseball as a metaphor for American 3 1845. Children soon picked up the game team played his trombonist’s (Arthur Pryor) life. and played in the alleys. Women formed team in Paris on 4 July 1900, the first base- Works such as Ball Club March their own teams early in baseball history and ball game in the great French city. Jazz musi- (Thomas Baldwin, 1888), American League had enough teams to organize into leagues cians had close ties to Negro League teams. continued on page 30 Take me out to the Ballgame… Give it a knock and don’t you fake, Sox were implicated in a gambling scheme continued from page 29 Go on and give it a smack, crack! to fix the World Series. The most famous March (composer unknown, 1901), and That’s a la-la-pa-loo-sa! Run, you son of player involved was “Shoeless” Joe Jackson, Three Strikes Two-Step (A.W. Bauer, 1902) a gun, who received a permanent ban from profes- portrayed the game through the medium of What’s that I hear the people shout? sional baseball for his role in the incident. the wind band. Baseball even inspired oper- You’re out! Berlin and Merrill’s song represents a base- atic composition in Paul Eaton’s Angela: or Jake, I lose my half a dollar, poison you ball culture before the ugly stain of the Black the Umpire’s Revenge (1888) and William should swallow; Sox Scandal in which gambling was com- Schuman’s The Mighty Casey (1954). Jake, Jake, you’re a regular fake. mon and accepted. Before the 1919 World Baseball influenced nearly every branch of Series, fans generally believed that players the arts, including Tin Pan Alley song. VERSE 2: were unaffected by gamblers. Betters would Irving Berlin wrote the music for a num- Hear them howl, It’s a foul! What do you heckle players and blame them for losses, as ber of baseball songs including Along Came think of that? in Jake! Jake! The Yiddisher Ball Player, but Ruth (1929) and Jake! Jake! The Yiddisher Why, he was only fakin’, Now he’ll bring certainly wagers would not affect the integri- Ball Player (1913). Jake (lyrics by Blanche home the bacon, ty of the game itself. After the Scandal, fans Merrill) demonstrates the tendency of these Oi! that boy, He’s certainly there with the realized how corruption and greed had taint- songs to reflect American culture. A term bat. ed baseball.4 like “Yiddisher,” and the patronizing atti- It’s not over yet, I would like to bet, Moses “Moe” Jaffe also wrote a number tude toward the player in the song, might be Only if you bet with me you must trust, of Tin Pan Alley-era baseball songs. Jaffe understood as racial slurs in more modern Jake, don’t stall, hit the ball, Play with it formed his band “Jaffe’s Collegians” while times. In 1913 this was acceptable language like a toy. attending The University of Pennsylvania and subject matter, as evidenced by Berlin, a Make a half a dollar’s worth of joy, Oi! Law School, and on 4 April 1925, the band Jew, composing music for a song that used recorded its headliner song Collegiate.5 The such terminology: A focus on Jake’s Jewish heritage is song sold more than one million copies of VERSE 1: demonstrated by Jake’s obviously Semitic sheet music. At one point in his Tin Pan What’s the score? Six to four! What do last name, Rosenstein, along with the Alley career, Jaffe had an office in the heart you think of that? Yiddish expression “Oi” in the second verse. of the publishing community at 1619 Don’t blame me if I holler, I bet a half a This is also reflected in performance prac- Broadway. His prolific baseball song compo- dollar on the game, tice. D’Anna Fortunato sang Jake! Jake! The sitions included (the following all from And I’ve got a right to be sore. Yiddisher Ball Player in a stereotypically 1938) There’s Gold in Them There Phils, The Please remove your hat, Who’s that at the Yiddish accent for the 1994 compact disc, White Sox are Coming Home, The St. Louis bat? Hurrah for the National Game. Merrill’s Browns, Watch the Senators, Here Come the Did you say it’s Jakey Rosenstein? Fine! lyrics even irreverently allude to Jewish Yanks, and Batter Up: A Theme Song for On his hand he’s got sand, Look at him kosher laws in the second verse, “Now he’ll Every Team in the Big-Time Circuit. He also at the plate, bring home the bacon.” These Jewish ele- composed songs about the Pittsburg Pirates, Maybe you don’t think that boy is great, ments are evident in the song, but the text the Brooklyn Dodgers, and the Chicago Wait! primarily concerns a half-dollar bet on a Cubs. baseball game. The baseball songs of Harry Von Tilzer CHORUS: Gambling and baseball reached a horri- included The Baseball Glide (1911) and Jake, now don’t you miss it, Jake, Go on ble climax with the 1919 Black Sox Scandal Batter Up Uncle Sam is at the Plate (1918). and kiss it, when eight players for the Chicago White Perhaps his most significant contribution to baseball in American song was as a publisher of his brother’s compositions. Albert’s The Bulletin of the Society for American Music contributions to the repertoire of baseball songs included Back to the Bleachers for Mine The Bulletin is published in the Spring (April), Summer (September), and Fall (December) (1910), Did He Run? (1909), I Want to Go to by the Society for American Music. Copyright 2003 by the Society for American Music, the Ballgame (1913), and the most popular ISSN 0196-7967. baseball song of all time: Take Me Out to the Ball Game (1908), which was published by Editorial Board his brother’s company. Surprisingly, neither Interim Editor ...... Mariana Whitmer ([email protected]) Tilzer nor Jack Norworth who wrote the Bibliographer ...... Joice Waterhouse Gibson ([email protected]) words to Take Me had ever seen a baseball Indexer ...... Amy C. Beal ([email protected]) game before they wrote the song. The sec- tion that is most popular today is the chorus Items for submission should be addressed to Mariana Whitmer, Society for American Music, of the original song; the verse is about Stephen Foster Memorial, University of Pittsburgh, Pittsburgh, PA 15260. All materials Norworth’s girlfriend Katie: should be submitted in printed copy, on floppy disk, or as attachment to e-mail. Katie Casey was baseball mad, Photographs or other graphical materials should be accompanied by captions and desired Had the fever and had it bad; location in the text. Deadlines for submission of materials are March 15th, August 15th, and Just to root for the hometown crew, November 15th. Ev’ry sou6, Katie blew.

30 The Bulletin of the Society for American Music • Vol. XXIX, No. 2 On a Saturday, her young beau, Notes Called to see if she’d like to go, 1. The National Art Museum of Sport on the 3. Two of the sketches are presented in Bette To see a show but Miss Kate said, “No, campus of Indiana University-Purdue Midler’s introduction to the Shostakovich I’ll tell you what you can do: University Indianapolis (IUPUI) holds a Piano Concerto No.2, Op. 102 in Fantasia number of paintings and sculptures that 2000. Take me out to the ballgame, demonstrate the influence of baseball on 4. For more cultural analysis of the Black Sox Take me out to the crowd, the visual arts. Scandal see Saying It’s So: A Cultural Buy me some peanuts and cracker jack, 2. The Northern Indiana Center for History, History of the Black Sox Scandal by Daniel I don’t care if I never get back, located in South Bend, Indiana, is the Nathan (University of Illinois Press, 2003). Let me root, root, root, for the home national repository for the All-American 5. This recording was historic as it was the team, Girls Professional Baseball League (AAGP- first recording to use an electric micro- If they don’t win it’s a shame. BL) records and information. Also note phone rather than a recording horn. For it’s one, two, three strikes, you’re out, that the modern terms “baseball” and “ball- 6. A sou was a small unit of French At the old ball game.” game” were often written as “base ball” and currency. These lyrics were composed while “ball game” (separate words) in the early days of the game. Norworth took a half-hour ride on the New continued on page 32 York City subway. He was inspired by an advertising sign promoting baseball at the The Society for American Music Polo Grounds, the ballpark where the New York (now San Francisco) Giants played. The Society for American Music promotes research, educational projects, and the dissemination of information concerning all subjects and periods embraced by the field of music in American life. Individual When Norworth premiered the song during and institutional members receive the quarterly journal American Music, the Bulletin, and the annotated his vaudeville act at Brooklyn’s Amphion Membership Directory. Direct all inquiries to The Society for American Music, Stephen Foster Memorial, Theater, the audience did not receive it well. University of Pittsburgh, Pittsburgh, PA 15260; (412) 624-3031; [email protected]. Norworth discarded the piece in the trunk Officers of the Society of his car. Three months later, while per- President ...... Carol Oja forming at Hammerstein’s Victoria Theater, Past President ...... Paul Wells Norworth was amazed to learn that a num- Vice President ...... Ron Pen ber of performers had added Take Me Out to Secretary ...... R. Allen Lott Treasurer ...... George Keck the Ball Game into their acts. His song that Members-at-large ...... George Boziwick, Mary DuPree, Susan Key, had flopped in its first performance was now Gayle Murchison, Denise Von Glahn, Josephine Wright a vaudeville hit. Eventually the song made its Editor, American Music ...... David Nicholls way into the ballpark, although the reasons Editor, SAM Website ...... Larry Worster for its popularity over other baseball songs Executive Director ...... Mariana Whitmer composed the same year are not quite clear. Conference Manager ...... James Hines George M. Cohan’s Take Your Girl to the Standing Committee Chairs: Ball Game was very similar to Norworth and Finance: William Everett; Long-Range Planning: Paul Wells, Development: Ann Sears, Honors and Awards: Tilzer’s hit, yet it never reached the popular- Dale Cockrell, Housewright Dissertation 2002: Vivan Persli, Mark Tucker Award: Nym Cooke, Membership: Karen Bryan; Conference Site Selection: Kay Norton; Nominating: Katherine Preston; Public ity of Take Me. Take Me Out to the Ball Game Relations: Liane Curtis; Book Publications Subvention (Johnson Bequest): Maja Trochimczyk, Silent Auction: remains the most popular baseball song of all Dianna Eiland; Publications: Paul Wells time. Appointments and Ad Hoc Committees: Tin Pan Alley song was song about ACLS Delegate: Dale Cockrell; Archivist: Susan Koutsky; Committee on Publication of American Music: American life. From tunes about the girl next Judith McCulloh; US-RILM Representative: Denise Von Glahn; Registered Agent for the District of door to songs about mothers and fathers, Columbia: Cyrilla Barr they depicted popular subject matter. Interest Groups: Baseball’s influence on late 19th- and early American Band History: Susan Koutsky; American Music in American Schools and Colleges: Christine de 20th-century American culture is heard in Catanzaro and James V. Worman; Folk and Traditional Music: Ron Pen; Gay/Lesbian/Bisexual/ these songs. The national pastime was cer- Transgendered: David Patterson; Gospel and Church Music: Roxanne Reed; Historiography: Michael Pisani; tainly national in its scope and was so repre- Music of Latin America and the Caribbean: John Koegel; Musical Biography: Stuart Feder; Musical Theatre: Anna Wheeler Gentry; Popular Music: Kirsten Stauffer Todd, Philip A. Todd; Research on Gender and sented in popular song. In this genre we see American Music: Liane Curtis; Research Resources: Alisa Rata; Early American Music: David Hildebrand; baseball’s depiction in the arts in general and 20th Century Music: David Patterson music in particular. Tin Pan Alley’s use of the sport teaches us about America’s cultural Electronic Resources emphasis on baseball in this time period. Listserv: [email protected] Matthew Doublestein is a member of Website: http://www.american-music.org the Society for American Baseball Research Annual Conferences (SABR) and an undergraduate student in 30th Annual Conference, Cleveland, Ohio Music Education at Ball State University, Rob Walser, Program Committee Chair where he is a student of Dr. Linda Pohly. Mary Davis, Local Arrangements Chair November is AMERICAN MUSIC MONTH

The Bulletin of the Society for American Music • Vol. XXIX, No. 2 31 T HE 2004 ANNUAL C ONFERENCE

Plans for the 2004 Annual Conference Museum of Natural History, the Cleveland September through May. On March 11 and in Cleveland on March 10-14 continue to Institute of Music, and Severance Hall, 12 at 8pm, and March 14 at 3pm the develop. The Conference will be a joint home of the Cleveland Orchestra. The Orchestra will present a program with meeting with the Association for Recorded newest University Circle attraction is the Wilson Hermanto, as conductor, and Sound Collections (ARSC); that group Frank Gehry-designed Peter B. Lewis Elisabeth Batiashvili, violin, that includes expects approximately 100 of its members to Building, scheduled to open in Fall 2002. two works by Sibelius–the Violin Concerto attend. The Little Italy Historic District, developed and Pohjola’s Daughter as well as the The Conference will be held at the in the early 20th century, is a five-minute Shostakovich Symphony No. 1. The same Renaissance Cleveland Hotel-arguably the walk from the Circle, and boasts a number weekend, the American Ballet Theater will best hotel in the city. Located on Public of excellent restaurants and cafés as well as perform at Playhouse Square. Other musical Square, at the center of downtown shops, galleries, and an historical museum. and theatrical events may be available for Cleveland’s business, shopping, theater, and We plan organized tours of some of these conference attendees at the Cleveland entertainment districts, the hotel was sites, but will also simply provide transporta- Playhouse and Gund Arena. The Cleveland opened in 1918 as the Hotel Cleveland and tion to the Circle, allowing Conference Institute of Music and the CWRU is now on the National Register of Historic attendees to freely circulate among the insti- Department of Music present regular recitals Places. It became part of the vast Cleveland tutions that they find of interest. At the end and concerts, as do Cleveland State Union Terminal railroad station and of the day, we plan a reception at Case for University and Cuyahoga Community Terminal Tower office complex in 1930 and attendees. Another excursion option would College (home to the annual Tri-C Jazz was thoroughly renovated in 2002. Now allow conference attendees to visit the Polka Fest). The Cleveland Museum of Art spon- part of the Tower City retail complex, the Museum. We are working on the details of sors a number of concert series, including a hotel is connected via underground passage that possibility. world music series that brings world famous to a shopping mall, restaurants, a food court, Cleveland’s musical scene is lively and performers to University Circle. In addition, a group of movie theaters, Starbucks, and diverse. The Cleveland Orchestra performs Cleveland’s ethnic communities offer a the Cleveland Rapid Transit system. We at Severance Hall most weeks from range of musical and cultural events. have secured favorable lodging rates for both groups at $129 per night for single or dou- Take me out to the Ballgame…continued from page 31 ble beds, one or two persons. Air travelers arriving at Cleveland Hopkins International Bibliography http://www.centerforhistory.org/ Airport can ride the Rapid Transit directly to Corenthal, Michael G., Baseball on Record: A aagpbl.html. Tower City for just $1.50. Recorded History of America’s National Rader, Benjamin G. Baseball: A History of All ARSC and SAM conference sessions Pastime from the Cylinder to the Compact America’s Game. Urbana: University of will be open to members of either Society Disc. Milwaukee, WI: MGC Illinois Press, 1992. and registration fees for both Societies will Publications, 1998. Sadie, Stanley and Tyrrell, John, eds. The be identical. ARSC sessions will take place in Ferguson, Don. Don Ferguson’s Tin Pan Alley. New Grove Dictionary of Music and a single, large, dedicated room; for the SAM 4 Dec. 2002. Musicians, 2nd edition, Online. 2 Dec. sessions we have reserved four smaller rooms http://www.geocities.com/dferg5493/ 2002. http://www.grovemusic.com/ for concurrent sessions. iwantagirl.html. grovemusic/home/index.html. Cleveland is a thriving metropolitan area Frick, Ford. “Baseball Has its Musical Tawa, Nicholas E. The Way to Tin Pan Alley. Angles.” The Music Journal Sept. 1956: New York: Schirmer Books, 1990. with much to offer visitors, and we have 11-12, 32. Thorn, John, and Bob Carrol, eds. The planned some events that should showcase Hamm, Charles. Yesterdays: Popular Song in Whole Baseball Catalogue. New York: the city’s musical offerings. The Conference America. New York: W.W. Norton & Fireside, 1990. will kick off on Wednesday with the tradi- Company, Inc., 1979. “What London Thought of its Fourth of tional reception at the hotel; on Thursday Jasen, David. Tin Pan Alley. New York: July Baseball Game.” The Literary Digest evening we will have a reception and open Donald Fine, Inc., 1988. 10 Aug. 1918: 41-43. house/tours at the Rock and Roll Hall of Jones, Christopher. “When Disney met Fame and Museum, and on Friday, we plan Dali.” Boston Globe Magazine. 4 Dec. Discography excursions to University Circle, where Case 2002. http://www.boston.com/globe/ Diamond Cuts CD series available from the Western Reserve University is located. An magazine/1-30/featurestory2.shtml. Baseball Hall of Fame, Cooperstown, extraordinary concentration of more than Miller, Richard. “Baseball and the American NY. 70 cultural, educational, and social organiza- Popular Song.” Unpublished. Property Hurrah for our National Game. Newport tions, the Circle was designed by the of the Society for American Baseball Classic, 1994. Olmstead brothers and is home to the world Research (SABR) Research Library, Schuman, William. The Mighty Casey and a famous Cleveland Museum of Art, the Providence, RI. Question of Time. Delos, 1994. Western Reserve Historical Society and Northern Indiana Historical Society. All- Yes Sir That’s my Baby: The Golden Years of Crawford Auto-Aviation Museum, the American Girls Professional Baseball Tin Pan Alley. New World Records, Cleveland Botanical Gardens, the Cleveland League. 6 Jan. 2003; 11 Jan. 2003. 2002.

32 The Bulletin of the Society for American Music • Vol. XXIX, No. 2 R ECENT A RTICLES

Joseph Horowitz has written a book for young the music Dvorak composed in New York is in the hands of foreigners,” Dvoˇrák mut- readers: Dvoˇrák in America: In Search of the and Iowa. Subsequently, as the orchestra’s tered. “All the composers sound German.” New World. In the Afterword, “Why This Executive Director, I took the story of Seidl stared at the table and said, “There Book was Written,” he explains: Dvorak into middle and high school is Victor Herbert. There is Edward Brooklyn classrooms. For inner city young- MacDowell. They have a future.” Dvoˇrák in America sters new to symphonic music, Dvorak “And they have a past. They studied in proved a fascinating and heroic figure. The Stuttgart and Frankfurt. They made their —Joseph Horowitz students proved eager to identify with reputations in Germany.” Dvorak’s search for an indigenous New “You should not underestimate the ener- There was a time when the project of World music distinguishable from Old gy of Americans. I am here longer than you. introducing young Americans to “great World models. Our “Dvorak in America” Look at the ladies of the Seidl Society, what music” mainly meant introducing a pan- programs in the Brooklyn schools typically they have done on Coney Island: my sum- theon of great composers beginning with included “Deep River” and “Goin’ Home,” mer concerts there, fourteen times a week, Bach, Mozart, and Beethoven. This Stephen Foster’s “Old Folks at Home” in for twenty-five cents a ticket. Never could Eurocentric curriculum seems dated today. Dvorak’s arrangement for chorus and you find such a thing in the Old World. And As a timely replacement, the story of orchestra, and excerpts from the New World the ladies of the society don’t work for Dvorak in America suggests itself for many Symphony, all with student performers and money. They raise the money to create con- reasons. No other European musician of commentators taking part alongside profes- certs for the working man.” comparable eminence so dedicated himself sional players. “Yes, the women here are different. Mrs. to finding “America.” Dvorak’s quest was In 1999 I taught “Dvorak and America” Thurber — certainly there is no one like her both concentrated and varied. And he at Boston’s New England Conservatory. My in Prague or Vienna. Maybe my new sym- proved amazingly absorbent. In particular, students created lecture/recital programs fea- phony…” his enthusiasm for the music of Native turing the American String Quartet, the “But you are not American. Incidentally, Americans and African Americans memo- American Suite, the Humoresques, and the I have been looking at your new symphony. rably bore fruit in his own symphonic, Violin Sonatina. These became part of a The second movement.” piano, and chamber works. The pedagogical three-week Dvorak unit at the Boston Latin Dvoˇrák bristled. ramifications of Dvorak’s quest are irre- School, where thirty twelfth graders were “It is a slow movement, nein?” said Seidl. sistibly multicultural and interdisciplinary. invited to ponder issues of race and culture Dvoˇrák exhaled a gust of cigar smoke. The slave trade, the Indian Wars, blackface as exposed by Dvorak’s American sojourn— “Andante, you call it,” Seidl conintued minstrelsy, Yellow Journalism, and the Panic during which he was denounced in Boston in his low, steady voice. “But I am sure that of 1893 are among the pertinent topics. The as a “negrophile.” Sponsored by an orches- it is slower. A Largo. That is to get under- cast of characters includes Stephen Foster, tra, sponsored by a conservatory, “Dvorak in neath, to the inner meaning. The Innigkeit.” Henry Wadsworth Longfellow, Buffalo Bill, America” proved an ideal vehicle for intro- Dvoˇrák was now talking to himself: “But and Marian Anderson. ducing the symphonic experience by way of of course it is an Andante. The tempo is only My own awareness of the Dvorak story exploring the American experience. The moderately slow. It is like a slave song sung begins with Wagner Nights—my 1994 histo- fundamental questions Dvorak indefatiga- by Burleigh, like ‘Deep River.’” ry of Wagnerism in the United States. bly asked—What is America? Who is an Dvoˇrák confronted Seidl’s gaze. “No one Immersed in 1890s New York City, I American?—are questions perpetually can sing so slowly.” He said. “Burleigh…” became immersed in the American career of renewed and unfailingly rewarding. “Ja! Ja! Burleigh!” Seidl snorted and Wagner’s charismatic New World emissary, In 2001, with the support of the glanced away. “This is not Burleigh. This is Anton Seidl. Seidl conducted the premiere American Symphony Orchestra League, I Heimweh—homesickness. Your ‘New of the New World Symphony. Like Dvorak, was able to secure an education grant from World’ Symphony is an ‘Old World’ he committed himself to America. Dvorak’s the National Endowment for the Symphony. Negro music, Indian music, it is ambitions for an “American school” of com- Humanities (which requires that I state that all very fine. It is what the Americans call posers, and for state-supported American “any views, findings, conclusions, or recom- window dressing. It is not the heart of this institutions of musical education, were also mendations” here expressed “do not neces- music. Your heart—is it in New York? Or in Seidl‘s ambitions. In Manhattan, Dvorak sarily represent those of the NEH”). This Bohemia?” and Seidl were inseparable colleagues and book is one result. Seidle pointed at his chest. Dvoˇrák friends. ordered another Pilsner. Minutes passed. At the beginning of the chapter on the When it came time to celebrate the one “Do as you please,” said Dvoˇrák. New World Symphony, Anton Seidl and hundredth birthday of the New World Seidl lifted his watch from his pocket. “I Antonin Dvoˇrák, sitting together in a café, Symphony, in December 1993, I was the must rehearse,” he said, and left the table. Artistic Advisor to the Brooklyn carry on this fictionalized conversation: Philharmonic Orchestra. The result was a In between silences, a familiar topic was Published by Cricket Books, Dvorak in festival exploring the “American accent” of addressed. “The musical life of this country America is copiously illustrated with period

continued on page 34

The Bulletin of the Society for American Music • Vol. XXIX, No. 2 33 R ECENT A RTICLES

The Hayloft Gang The documentary began in February The program is intended for broadcast 2002, stemming from Producer/Director on public television for a national audience. —Stephen Parry Stephen Parry’s deep interest in Bluegrass The documentary will be distributed on and early country music. Initial research has VHS and DVD to libraries and music Image Base, a video production compa- uncovered a fascinating story just waiting to archives across the country. Companion dig- ny located in Chicago, Illinois, in association be told about the amazing talent and color- ital projects are planned to expand the con- with Media Working Group a non-profit ful characters known as the “Hayloft Gang” tent and reach of the program and to pro- 501(C)3 media education and development who made up the cast of National Barn vide the audience with additional ways to organization located in Covington, Kentucky Dance. This documentary will provide a explore the National Barn Dance and its (www.mwg.org), is producing a television compelling and fresh perspective on an era place in history. An interactive DVD, documentary The Hayloft Gang: The Story of that was divided by two world wars, rapid Website, and printed teachers guides will The National Barn Dance. industrialization and massive southern rural provide in depth performer biographies, Produced by WLS in Chicago and to northern urban migration. additional interviews, performance clips, broadcast coast to coast on the NBC net- The project has recruited an excellent and music selections along with a detailed work The National Barn Dance was the cut- team of historians, folklorists, and country bibliography and discography. These inter- ting edge of country music programming in music experts to serve as consultants and active learning tools will be a valuable its hey day of the 1930s and 1940s. The pro- advisors including: Wayne Daniel, Douglas resource for teaching American history, and gram’s immense popularity and unique for- B. Green (Ranger Doug), William Lightfoot, music education. mat set the standard for some six hundred Bill C. Malone, Kristine McCusker, Paul Tyler, Individuals and organizations wishing to other barn dance radio shows that blanketed and Charles K. Wolfe. The advisors will assist help underwrite the development and pro- the country from the mid 1920s to the late in locating and identifying key archival duction of this documentary may contact 1950s. It was not until the late 1940s that audio and visual resources and provide feed- Stephen Parry at [email protected] or the Grand Old Opry in Nashville began to back on the production and post-produc- 312-587-8700 x223. challenge The National Barn Dance as the tion process to insure historical accuracy and nation’s premiere country radio program. objectivity. The project is just beginning the fund The story of The National Barn Dance Dvoˇrák in America continued from page 33 is an important chapter in the American raising phase and has received production experience that up to this point has been grants from the Illinois Humanities Council photographs. As historical fiction, it incor- largely untold. The National Barn Dance and the Chicago Department of Cultural porates dialogue. A companion DVD by defined and shaped country and western Affairs. Additional funding sources will Robert Winter and Peter Bogdanoff will be entertainment and was the catalyst that include government grants, foundation sup- ready this fall—in time for the Dvorak brought country music to national popular- port, corporate underwriting and individual Centenary of 2004, during which the book ity. WLS artists, such as Gene Autry, Lulu contributions. Production will take place in and DVD are slated for use in educational Belle and Scotty, Patsy Montana, and the spring-fall of 2004 with the final pro- outreach activities linked to Dvorak festivals Bradley Kincaid became household names. gram slated for completion early 2005. by the New Jersey Symphony, Nashville Symphony, Sioux City Symphony, and Corrections to the Directory Santa Rosa (California) Symphony. Paul Machlin’s correct email address is [email protected]. Horowitz hopes the book will also be used by music schools and conservatories in sim- Carol Oja’s new email is [email protected]. ilar outreach activities (as when his New England Conservatory students performed and taught Dvorak at the Boston Latin Steven Ledbetter’s phone numbers were printed incorrectly. His home and work School). number is 508-363-2773 and his fax number is 240-597-8685. Towards the larger aim of applying scholarship in American music outside acad- James and Ginevra Ralph were inadvertently left out of the Directory altogether. emia, Horowitz has created a S.A.M. inter- Their information is as follows: Oregon Festival of American Music, Post Office Box est group for “Connecting Outside the 11254, Eugene OR 97440-3454. h: (541) 344-8546, o: (541) 687-6526, fax: (541) Academy.” His own pertinent activities 342-6152, email: [email protected]. include curating American music festival for American orchestras (in particular, the annu- Finally, Ronald Cohen’s book, published with assistance from a subvention from the al American Composer Festival of the Pacific Society (listed on page 11 of the Directory), is correctly titled: “Rainbow Quest: The Symphony) and serving (with H. Wiley Folk Music Revival and American Society, 1940-1970” Hitchcock and Wayne Shirley) as an advisor to Naxos’s American Classics series. He also hopes to produce a touring presentation The editor apologizes for the errors! titled “The American Piano.”

34 The Bulletin of the Society for American Music • Vol. XXIX, No. 2 R ECENT A RTICLES

[Editors note: This paper was originally wild support from his boss, the critics, and over blackface minstrelsy opened up again, delivered as a response at the Work-in-Progress the viewers. Blackface soon became a with the majority opinion decrying such lat- session “Post-Bellum Minstrelsy,” at the 2003 national sensation, but the film nevertheless ter-day racism, yet important voices in the Annual Conference in Tempe, Arizona, during ends in violence, not unlike Do the Right gay community like RuPaul (himself a black which such a lively discussion ensued that a Thing. Named after Charlie Chan’s chauf- drag queen) spoke out in favour of the min- larger audience was suggested. Responses to his feur, Delacroix’s satirical program “Mantan: strel show. RuPaul noted how Knipp “is pay- response and the issues it raises are welcome.] The New Millennium Minstrel Show” is a ing loving homage to the Southern black lightning rod for Lee’s own thoughts about women that he obviously grew up around.”2 The Minstrel Show in the rampant racism in television. The show fea- However, Kheven Lee LaGrone saw no “lov- 21st Century tures explosive language that is familiar to ing homage” there, but rather a perpetuation those of us who have worked with the black of the tradition of blackface minstrelsy, as a —James Deaville, McMaster University dialect song repertoire—everything from strategy to offer Shirley’s “white gay audience “nigger” and “pickaninny” to a band called a somebody more objectionable and un- For all of the participants in today’s ses- the Alabama Porch Monkeys. Lee drew American than themselves.”3 sion, the minstrel show of the 19th and early upon the semiotics of the minstrel show to The controversy over minstrelsy as paro- 20th centuries was a form of popular enter- unsettle his viewers, which by all means was dy and entertainment has carried on into the tainment that served as a site for the contes- the result, judging by the wildly varying crit- present. In a federal court ruling from June tation, if not subversion, of power and the ical responses to the film. As Lee revealed in 2003, New York City judge John Sprizzo affirmation of identity. But what about the an interview with Bruce Kirkland of the determined that two firefighters and a police minstrel show in the 21st century, almost Toronto Sun, “I think that’s a good thing officer (all of them white) had their consti- one-and-a-half centuries after its heyday and sometimes when you don’t know whether tutional rights violated by the city when they after the social change of the last four you should laugh or cringe, or both at the were fired for having worn blackface and decades? same time…With this subject matter, I don’t thrown watermelon and fried chicken at the In the second half of the 20th century, think the approach was to be subtle. How audience during a Labor Day parade in television enabled the minstrel show to con- can you be?…But I think that, number one, 1998. They also pretended to be dragging tinue to exist as a literal public presence in a America is never going to be the great coun- one of the men in blackface. The city sit-com like All in the Family and the variety try it can be until we deal with slavery… employees claimed that their float act was show In Living Color (not to mention the [The minstrel show] is part of our legacy. It not racially motivated but rather was a paro- BBC The Black and White Minstrel Show), might be ugly and it might be offensive but dy and the judge opined that the “govern- and to serve as a figurative presence in come- it is still a part of our past. You can’t just say: ment can’t ban the expression of an idea sim- dies about blacks like Amos ‘n’ Andy, The ‘It happened in the past, let’s forget about it ply because a segment of society finds it Jeffersons, and Good Times. Moreover, the and let’s everybody move forward.’ I do say offensive.”4 (The city of New York plans to trademarks of the minstrel show can be seen let’s move forward, but you can’t just wipe appeal the ruling.) to extend to film and television portrayals of out the past.”1 So, while on the one hand Spike Lee blacks in general. No sooner than the 21st Two years later, in September of 2002, enlisted the minstrel show for satirical pur- century had begun than we were faced with white drag queen Charles Knipp caused sig- poses, on the other Chuck Knipp and the two major controversies that centered on the nificant controversy through his club show, New York City employees at least claim to minstrel show itself: the release of Spike Lee’s for which he put on blackface and as Shirley have appropriated it as entertainment. All movie Bamboozled on 20 October 2000 and Q. Liquor, presented a self-proclaimed min- cases ultimately evoked the late-20th-centu- the New York City opening of Chuck strel show called “Ignunce.” Whether satiri- ry perception of the minstrel show as a Knipp’s “Ignunce” show in September of cal or not, the show was replete with all of monolithic racist discourse against black 2002. Add to that a recent court case in New the stereotypical images of African Americans, which Dale Cockrell, W.T. York City about white public servants parad- Americans. The Shirley persona, who is Lhamon, and William Mahar (and others) ing in blackface. Bamboozled is about a black heard regularly on radio stations throughout have attempted to destabilize by situating television writer named Pierre Delacroix (in America, speaks in pidgin English, and is a historical minstrelsy within social conditions life, Damon Wayans) who—hindered from drinking, smoking, fat, ignorant, husband- of the times.5 Yet as these two cases reveal, putting an intelligent show about black peo- less welfare mother. In face of protests by the the minstrel show is clearly inflammatory ple on the air—out of desperation advances black gay and lesbian community, the police and offensive at the outset of the 21st centu- to his white boss a preposterous idea that had to shut down the New York City gay bar ry,6 although it still crops up as an element of was supposed to get him out of his contract, The View, which was to be the first stop on social life on university campuses and in in other words, fired. The proposal, for an the entertainer’s tour. He did perform at the charitable clubs.7 Does it confirm Dan old-time minstrel show of blacks in black- Eagle in Pittsburgh, but the club in Boston Savage’s words, “Americans—every last face that is replete with stereotypical charac- cancelled the show and it is probable that the one—are fucked up about race?”8 Or does ters like a lazy, shuffling, watermelon-eating rest of the tour—to Austin, New Orleans, the tradition of the drag queen show, for tap dancer, found to Delacroix’s amazement Memphis, Jackson, Ft. Lauderdale, and Clearwater—never took place. The debate continued on page 36

The Bulletin of the Society for American Music • Vol. XXIX, No. 2 35 BULLETIN B OARD continued from page 35 re-election committee circulated a photo tors about the project while it was in of his Democratic rival Mel Carnahan progress. example, with its roots in the carnivalesque participating in blackface in a minstrel MLA’s Archives are housed in Special cross-dressing and satire of the minstrel show almost 40 years earlier. Collections in Performing Arts, a depart- show, somehow offset (if not justify) racially 7. At McMaster University in early 2003, ment of the Michelle Smith Performing Arts questionable material? the staff association presented a vocal Library, at the University of Maryland, And how should we, as scholars of min- concert of the “McMaster Minstrels,” College Park. Accessions inventories of the strelsy, position ourselves vis-a-vis the prac- apparently unaware of the potentially RAMH Archives exist, and the collection tice, in its history and its present status? I offensive ensemble designation. may be used by visiting researchers in the think the research and insights of the afore- 8. Dan Savage, “Straight Boys,” Irving and Margery Morgan Lowens Room mentioned scholars and today’s panel TheStranger.Com, 10/33 (3-9 May for Special Collections, from 10:00 a.m. to address one of the prime issues, that is, try- 2001). 5:00 p.m., Monday through Friday by ing to understand and make understood to “Performing Images, Embodying appointment with the Curator. Persons with public and students alike the cultural work Race” Exhibition & Gallery Talk questions about the RAHM Archives, or accomplished by the minstrel show in all of From 15 October through 12 December any other aspect of the MLA Archives, may its historical manifestations. At the same 2003, Wesleyan University’s Davison Art e-mail the Curator via the website at time, we must take Spike Lee’s point to Center will present “Performing Images, www.lib.umd.edu/PAL/SCPA/ heart, and sensitize ourselves to recognize Embodying Race: The Orientalized Body in scparefreqform.html. where these emblems of the minstrel tradi- Early 20th-Century U.S. Performance & tion continue to crop up in television and Visual Culture.” The exhibition offers a crit- “The Authority of Knowledge in a film and to resist their evocations of stereo- ical view of how print-media images of real Global Age” types for African Americans (and indeed, and imagined Chinese, Japanese, and Asian New York University’s International other minorities). Only by engaging in open American performance supported racial ide- Center for Advanced Studies announces dialogue with sources, ideas and each other, ology. Robert G. Lee (Brown University) Fellowships 2004-2005. The International as occurred in this panel, can we hope to and Mari Yoshihara (University of Hawai’i) Center for Advanced Studies (ICAS) at learn from our past and share that with our will give a gallery talk on 15 October at 7 NYU brings together a community of schol- students, colleagues and community. P. M. For more information, please contact ars to pursue research, writing, and intellec- Notes Rob Lancefield at the Davison Art Center, tual exchange around a common theme. 1. Bruce Kirkland, “Bamboozled by Spike,” Wesleyan University, 301 High Street, The community is international in member- Toronto Sun, 4 October 2000. Middletown, CT 06459; ship, interdisciplinary and comparative in 2. Quoted from RuPaul’s website in www.wesleyan.edu/dac; 860-685-2500. intellectual strategy, and global in scope. “Blackface Drag Act Canceled,” Gay ICAS offers fellowships to scholars in any People’s Chronicle, 25 October 2002. RAMH Materials Donated to MLA field of the social sciences and humanities 3. Kheven Lee LaGrone, “Perspective. Race Archives whose work addresses the Center’s theme. in America: Why We Need Minstrels,” The Music Library Association is pleased For the years 2004-2007, ICAS is organizing Gay City News 1/20 (11-17 November to announce the receipt by the MLA a project on “The Authority of Knowledge 2002). archives of primary source materials from in a Global Age.” Each year of the project 4. “Nationline. Judge: NYC Erred in Firing the landmark publication Resources of will focus on a different topic. In 2004-2005 Men in Blackface,” USA TODAY, 25 American Music History; a Directory of Source the topic will be The Rule of Markets. Fellows June 2003, p. 4A. Materials from Colonial Times to World War are awarded a $35,000 stipend for 9 months 5. Dale Cockrell, Demons of Disorder: Early II (RAMH). Published in 1981 by the and are eligible for low cost NYU housing. Blackface Minstrels and Their World University of Illinois Press, RAMH was edit- Applications from outside the United States (Cambridge: Cambridge University ed by D. W. Krummel, Jean Geil, Doris are encouraged. Details of the project, appli- Press, 1997); W.T. Lhamon, Raising Dyen, and Deane Root. The materials, cation forms and instructions are available Cain: Blackface Performance from Jim which were in Krummel’s possession, were on the Center website at Crow to Hip Hop (Cambridge, Mass.: placed in the archive for safekeeping. www.nyu.edu/gsas/dept/icas. Or contact Harvard University Press, 1998); Bonnie Jo Dopp, Curator of the MLA [email protected], fax: 212-995-4546. William Mahar, Behind the Burnt Cork Archives, notes, “The RAMH Archives doc- Application deadline: 8 January 2004 Mask: Early Blackface Minstrelsy and uments the history of this monumental pro- Anteberllum American Popular Culture ject. It contains files on all the libraries and 2003 ACLS Annual Meeting (Urbana: University of Illinois Press, repositories, state by state, that were sur- The 2003 Annual Meeting of the 1999). veyed; administrative files such as minutes of American Council of Learned Societies took 6. Minstrelsy became an issue in the 2000 meetings, grant proposals, mailing lists, pub- place at the Sheraton Society Hill Hotel in Missouri senate race, for example, when licity materials, and memoranda of decision- Philadelphia, PA from 9-10 May 2003. incumbent Republican John Ashcroft’s making; and texts of talks given by the edi- More than 250 persons attended, including

36 The Bulletin of the Society for American Music • Vol. XXIX, No. 2 BULLETIN B OARD members of the ACLS Board of Directors, Annual Meeting. Marjorie Garber, the University of Pennsylvania, Vice President, Delegates of the Constituent Societies, William R. Kenan, Jr., Professor of English African Studies Association, and member of members of the Conference of at Harvard University, and the Director of the ACLS Board of Directors, served as Administrative Officers (executive officers of the Humanities Center in the Faculty of Arts moderator. Lively discussion followed both the Constituent Societies), presidents of the and Sciences; was elected, and Frederick M. presentations. Constituent Societies, representatives of Bohen, Executive Vice President and Chief In honor of Charles Homer Haskins Affiliate members, representatives of college Operating Officer, Rockefeller University (1870-1937), the first Chairman of the and university Associate institutions, ACLS was re-elected, to four-year terms as Bruce ACLS, each year a distinguished scholar is Fellowship recipients, committee members, Cole, Chairman of the National invited to address the topic of “A Life of foundation representatives, and other invit- Endowment for the Humanities (NEH) Learning.” This year’s Haskins Lecturer was ed participants. addressed the Annual Meeting at luncheon Peter Brown, Philip and Beulah Rollins The first plenary session of the Annual on May 8. Chairman Cole spoke about new Professor of History, Princeton University. Meeting was the meeting of the Council, developments at the National Endowment Professor Brown mapped the trajectories, which consists of the Delegates from the for the Humanities most notably the geographical and intellectual, of his life as a Constituent Societies and the Board of President’s request for significantly increased scholar. The Lecture was held in Benjamin Directors. During the Council meeting funding. Chairman Cole emphasized that Franklin Hall at the American Philosophical Patricia Meyer Spacks, Chair of the ACLS the funding designated for the “We the Society. Professor Brown’s lecture will be Board, called on a newly appointed recipient People” initiative would extend NEH’s abil- published in the ACLS Occasional Paper of an ACLS Fellowship, Kim F. Hall, ity to support worthy projects in all areas. series. Associate Professor of English Literature, The Delegates, the Conference of The public session of this year’s meeting Fordham University, to represent the class of Administrative Officers and the representa- focused on “Crises and Opportunities: the ACLS Fellows for 2003-2004. Professor tives of the College and University Associate Futures of Scholarly Publishing.” The pan- Hall spoke briefly on her project “Sweet institutions in attendance took part in two elists were Carlos J. Alonso, Edwin B. and Taste of Empire: Gender and Material program sessions. The first titled Leonore R. Williams Professor of Romance Culture in Seventeenth-Century England,” “Understanding our National Past: Languages, University of Pennsylvania; and on her connections to ACLS as a Fellow American History and Civic Life” included Editor, PMLA; Cathy N. Davidson, Vice and as a member of several constituent soci- presentations by Michael Devine, Director, Provost for Interdisciplinary Studies, Ruth F. eties. Tr uman Presidential Library, and Delegate, DeVarney Professor of English, and In the President’s Report to members of National Council on Public History; Eric Director, John Hope Franklin Humanities the Council, Interim President Francis Foner, DeWitt Clinton Professor of History, Institute, Duke University; John M. Oakley reported on how, during the past Columbia University, and Past President Unsworth, Director, Institute for Advanced year, the mission of the ACLS was carried (2000), American Historical Association; Technology in the Humanities, and out-as Funder, as Convener, as Collaborator, and Ramon A. Gutierrez, Professor of Associate Professor of English, University of and as Advocate. Professor Oakley also Ethnic Studies and History, University of Virginia; and Lynne Withey, Director, reported that he and the ACLS staff looked California, San Diego, and Delegate, University of California Press; Marshall forward to Pauline Yu’s arrival to begin her Organization of American Historians. Cohen, Professor Emeritus of Philosophy tenure as ACLS President. President-elect Yu Arnita A. Jones, Executive Director, and Law, University of Southern California, met with both the Delegates and the American Historical Association, served as Vice Chair of the ACLS Board of Directors, Conference of Adminstrators in the course moderator. served as moderator. Last minute travel of the meeting. The second session titled, problems prevented John M. Unsworth’s The Council admitted a new con- “Understanding our Global Present: appearance. Professor Unsworth’s text was stituent member to the ACLS: the Society International Issues and Area Knowledge” presented by Steven Wheatley, Vice for the Advancement of Scandinavian Study. included presentations by Lisa Anderson, President of the ACLS. There were numer- The ACLS now has 67 constituent societies. Dean, School of International and Public ous questions from the floor after the pan- Susan McClary, Musicology, University Affairs and Professor of Political Science, elists’ presentations. of California, Los Angeles, was elected to a Columbia University, and President, Middle Exhibitors at the meeting included the three-year term as Chair. The Vice Chair, East Studies Association; Susan Mann, ACLS History E-Book Project, the ACLS Marshall Cohen, Philosophy and Law, Professor of History, University of Website, JSTOR (Journal Storage), the University of Southern California, and the California, Davis, Delegate, and Past National Humanities Alliance, the Fulbright Secretary, Fedwa Malti-Douglas, President (1999), Association for Asian Scholar Program, and Imagining America. Humanities and Law, Indiana University, Studies; and William G. Rosenberg, The 2004 Annual Meeting will take place were re-elected for one-year terms in those Professor of History, University of on May 6-8 in Washington, DC. More offices. Charlotte Kuh, Policy and Global Michigan, Ann Arbor, and Immediate Past information concerning this meeting is Affairs, National Research Council, President, American Association for the available at the ACLS website: www.acls.org. National Academy of Sciences was elected to Advancement of Slavic Studies. Sandra T. a three-year term as Treasurer at the 2002 Barnes, Professor of Anthropology,

The Bulletin of the Society for American Music • Vol. XXIX, No. 2 37 C ONFERENCE A NNOUNCEMENTS

Only in America Center Hotel, on the Riverwalk. Join us registration deadline is January 1, 2004. All 7 - 11 November 2003 this year, as a returning or first-time participants must register by that date or participant, as we celebrate a quarter-centu- will not be able to present or appear in the Explore the rich diversity of American ry of this regional popular culture confer- program. Jewish musical expression, from its modest ence. For further details regarding the con- beginnings with early Jewish settlers of the ference (listing of all areas, hotel, registra- Please direct submissions or inquiries in this Colonial era all the way through the vibrant tion, tours, etc.) please visit creativity and dynamics of the 20th century. http://www2.h-net.msu.edu/~swpca area to Chris Smith at the email or physical Celebrate musical masterpieces once addresses below. thought lost forever; chart future directions Now accepting proposals for Folk and with world premieres and workshops. Only Protest Music in the Music Area, a well- Dr Christopher Smith in America takes place Friday, 7 November represented area with outstanding partici- Vernacular Music Center through Tuesday, 11 November 2003 in pants in years past. We welcome proposals Department of Music History and New York City. Unprecedented in scope, on many aspects types of protest music and Literature this five-day Conference & Festival is jointly their role in American popular culture. School of Music MS 2033 sponsored by The Jewish Theological Prospective topics include: Texas Tech University Seminary and the Milken Archive of Lubbock, TX 79409 American Jewish Music • Genres opposed to dominant political, economic, or nationalist paradigms, par- 806.742.2270 x249 •Papers, Lectures, Panel Discussions, ticularly associated with specific social [email protected] Symposia movements: Federalism, States’ Rights, • World Premieres, Concerts, Musical Abolition, Temperance, Populism, labor Services unions, Civil Rights, anti-war, etc continued from page 37 • Choral, Klezmer & Other Workshops • New & Traditional Music • Musics created or appropriated in associa- AMS Doctoral Fellowships tion with expected or self-identified Available Performances include: minorities: persons of color, LGBT, Chamber Sinfonia of the Manhattan women, etc. The AMS offers a fellowship for doctor- School of Music and the Rutgers al candidates finishing up their dissertation. Kirkpatrick Choir • Protest music as part of immigrant com- Anyone is eligible to apply who is registered Kurt Weill: “The Eternal Road” munities for a doctorate at a North American univer- (Highlights) sity, is in good standing there, and has com- Paul Schoenfield: “Klezmer Rondos • The mechanisms, support networks, eco- pleted all formal degree requirements except The Juilliard Orchestra, The Juilliard nomics, and audience demographics of the dissertation at the time of full applica- Choral Union, and The Brooklyn Youth music within protest movements Chorus tion. AMS Fellowships are awarded solely on Ernest Bloch: “Schelomo” • Readings of genres as “protest” music the basis of academic merit. Winners will Samuel Adler: “The Challenge of the which are not commonly so-identified received a twelve-month stipend, currently Muse” (World Premiere) Particular interest/emphasis upon set at $14,000. Applications forms are due Cantorial, Choral and Yiddish 15 January 2004. For complete information Extravaganza • Under-examined historical genres or peri- and forms visit the AMS website: A Memorial Tribute to Cantor Richard ods of protest music (especially outside Tucker featuring Cantors and Choirs of the 20th century) http://www.ams-net.org/ams50.html World Renown • Protest music as a tool of enculturation or Members in the News Visit www.milkenarchive.org or email at re-affiliation Deane Root and Mariana Whitmer are [email protected] pleased to announce that the Center for For additional information, telephone • Indigenous musics originating or appro- 212/866-7418 priated as “protest” musics American Music at the University of Pittsburgh has been awarded a grant from Call for Papers: Folk & Protest Music Special topics include: the National Endowment of the Humanities 2004 Southwest/Texas Popular to host a Summer Institute for Teachers. Culture/American Culture Associations • Protest music in or as part of Hispanic Based on the Society’s education project, culture Voices Across Time, the Institute will allow 25 25th Annual Conference, held in conjunc- • Protest music in the Southwest teachers to explore topics in American histo- tion with the National Popular ry through the lens of music. The grant is Culture/American Culture Associations one of 29 projects designated as We the Conference Proposals should include current curriculum vitae or résumé (3-page maximum) People projects that will explore significant 7-10 April, 2004 and a 250 word abstract, including name, issues in U.S. history and culture for teach- institutional affiliation if any, and working ers and the general public. Voices Across Time The 2004 SW/TX PCA/ACA Conference title. will take place 12 July – 13 August 2004 at will meet in San Antonio, Texas, at the the University of Pittsburgh. beautiful San Antonio Marriott River Submission deadline is November 15. The

38 The Bulletin of the Society for American Music • Vol. XXIX, No. 2 June C. Ottenberg (Temple University) has written a monograph, Gustav Hinrichs (1850-1942), American Conductor and F ROM THE E XECUTIVE D IRECTOR Composer, recently published by Harmonie Park Press ($25). It was edited by Bunker Clark. The 2003 Directory should have found Postal Service charges us $.70 each time they Nassim W. Balestrini, an assistant pro- its way to most of you by now. If you did not let us know about an address change. We’d fessor of English at the Johannes Gutenberg- receive one let me know. My apologies for rather hear it from you and save the money. Universität in Mainz, Germany, has com- any errors which may have crept into the Address changes can be submitted via email pleted a book-length study entitled “A Directory. Printed elsewhere in the Bulletin to [email protected], or via mail Different Kind of Reception History: The you will find some which were brought to to: Society for American Music, Stephen Transformation of Nineteenth-Century my attention. Please make a note of these Foster Memorial, University of Pittsburgh, American Literature into Opera.” She submit- changes in your copy. Pittsburgh PA 15260. Also let me know if ted the manuscript as a requirement for a We like to know where you are. Please the address change is temporary, otherwise I post-doctoral degree (“Habilitation”). The make sure that we have your current and/or will change our records permanently. Thank work first discusses the potential contribu- permanent address at all times. The US you! tions of literary scholars to libretto research as well as the historiography of opera in SAM Cleveland Silent Auction America and of American opera. The study It’s time! Time to start collecting your donation for the 2004 SAM Silent Auction at our then focuses on the transformation of Washington Irving’s “Rip Van Winkle,” Cleveland meeting. Please bring books, sheet music, scores, CDs, etc. We will be glad to put Nathaniel Hawthorne’s The Scarlet Letter, up for auction any item that has to do with music or American music. And remember that all and Henry James’s Washington Square into libretti, taking into account the cultural-his- proceeds from the silent auction go to the Student Travel Fund which supports students who torical context of each work’s genesis. attend and present papers at SAM meetings. So please get busy and find lots of stuff to bring Elizabeth McNamee has completed her radio documentary, From Minstrelsy to to the meeting! Dianna EilandSilent Auction [email protected] or 703-765-8660. Movies: Music in California Life, 1880-1910. Funded by a grant from the California Council for the Humanities, this project has The Society welcomes the following new members: been co-sponsored by the Society for Gina Genova, New York NY Steve Gerber, Amherst NY American Music and KALW-FM radio in Michael F. Anders, Findlay OH Brian Mann, Poughkeepsie NY San Francisco. For members in California, the program will be broadcast on KALW- Rika Asai, Bloomington IN Rebecca Y. Kim, New York NY FM on Tuesday, November 11th (12:00 Todd Decker, Ann Arbor MI Annett Richter, St. Paul MN noon - 1:00 pm) and Friday, November Gwynne Kuhner Brown, Puyallup WA Kenji Tanaka, JAPAN 14th (6:00 - 7:00 pm). The rest of us will Peter Schimpft, Bloomington IN Tim Freeze, Ann Arbor MI look forward to a recorded version! Beth Levy appears on the cover of the Cory Matthews, Goleta CA Julia Grella, New York NY current issue of Chronicle of Higher Angela Hammond, Lexington KY Logan K. Young, Georgetown SC Education (5 September 2003) and is fea- Robbie Fry, Athens OH Jane Dressler, Kent OH tured as one of the “New Ph.D.’s to Watch: Mary Francis, Berkeley CA Willie Strong, Columbia SC This year’s rising stars of academe.” All this Tara Browner, Los Angeles CA Dee Benefield, Dunwoody GA and a nice article, too. Well done, Beth! Cecilia Sun, Los Angeles CA Mary H. Wagner, Saginaw MI Estevan Azcona, Greencastle IN James McCalla, Brunswick ME Melva Huebert, North Lima OH Valerie A. Austin, Gainesville FL Melissa Ursula Dawn Goldsmith, Angela Bates, St. Louis MO Baton Rouge LA Vanessa Raney, Houston TX Harlie Sponaugle, Arlington VA Edward Green, New York NY Fern Myers, Etna NH Mark Porcaro, Carrboro, NC Richard Littlefield, Mt Pleasant MI Robert McMahan, Titusville, NJ Francesca Draughon, Stanford CA Maria Cristina Fava, Robert Fink, Los Angeles CA State College, PA Ronald Radano, Madison WI Sarah Stoycos, Danville, KY Susan Lawlor, Norfolk VA Nichole Maiman, Laurel, MD Linda Wood, Philadelphia PA Edgardo Salinas, Bowling Green, OH Nelly Case, Canton NY Joseph Weber, Canton, MI

The Bulletin of the Society for American Music • Vol. XXIX, No. 2 39 Awards of the Society for American Music

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

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40 The Bulletin of the Society for American Music • Vol. XXIX, No. 2