DOCSLIB.ORG

BSW Dissertation 2016-05-05

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
BSW Dissertation 2016-05-05 THE RAGTIME PIANO REVIVAL IN AMERICA: ITS ORIGINS, INSTITUTIONS, AND COMMUNITY, 1940-2015 by Bryan S. Wright B.A. in Music, College of William and Mary, 2005 M.A. in Musicology, University of Pittsburgh, 2008 Submitted to the Graduate Faculty of the Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2016 UNIVERSITY OF PITTSBURGH KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Bryan S. Wright It was defended on December 7, 2015 and approved by Mary Lewis, Professor Emerita, Department of Music Andrew Weintraub, Professor, Department of Music Joshua Rifkin, Professor, Boston University Advisor: Deane Root, Professor, Department of Music ii © Bryan S. Wright 2016 iii THE RAGTIME PIANO REVIVAL IN AMERICA: ITS ORIGINS, INSTITUTIONS, AND COMMUNITY, 1940-2015 Bryan S. Wright, Ph.D. University of Pittsburgh, 2016 Since the early 1940s, ragtime piano has been the focus of a musical revival community in the United States. Like many other music revival movements, what began as an effort by a dedicated few to revitalize and preserve a “vanishing” musical practice—in this case, one that had flourished from the mid-1890s to the mid-1910s—soon attracted ardent enthusiasts eager to collect, compose, and perform ragtime. They celebrated its historical roots while endeavoring to re-establish ragtime as a thriving tradition. This study, drawing on original archival research, interviews with ragtime community members, and the author’s twelve years as a participant-observer in the community, examines the origins and development of the American ragtime piano revival community. Chapter 2 analyzes selected writings of the 1940s, in which the earliest revivalists sought to legitimize ragtime and forge an identity for the music distinct from jazz. Chapter 3 discusses three prominent ragtime serial publications that began in the 1960s (The RagTime Review, The Ragtimer, and The Rag Times), the people and organizations behind them, and the ways in which geographically disparate ragtime revivalists sought to iv organize their efforts, generating a core ragtime community while debating notions of authenticity in ragtime performance. Chapters 4 and 5 examine two prominent annual ragtime events—The Scott Joplin International Ragtime Festival and the World Championship Old-Time Piano Playing Contest)—to discuss practices through which the ragtime community has maintained and expressed itself into the twenty-first century. The dissertation argues that as the revival community has established and maintained itself, it has witnessed a shift from product-oriented to process-oriented notions of authenticity, heralding the arrival of a “post-revival.” v TABLE OF CONTENTS ACKNOWLEDGMENTS .................................................................................................. xii 1.0 INTRODUCTION: RAGTIME AND COMMUNITY .................................................... 1 1.1 MY INTRODUCTION TO RAGTIME ........................................................... 4 1.2 WHAT IS RAGTIME? ................................................................................... 9 1.2.1 Etymology of “ragtime” ................................................................... 13 1.3 COMMUNITY THEORY ............................................................................ 17 1.3.1 Definitions and historical perspectives of “community” .................. 19 1.3.2 Alternatives to “community” .......................................................... 26 1.3.3 My role in the ragtime community .................................................. 34 1.4 PURPOSE AND OUTLINE ......................................................................... 40 2.0 A HISTORY OF THE RAGTIME REVIVAL IN THE 1940s AND 1950s ...................... 44 2.1 THE “RAGTIME ERA” ................................................................................ 47 2.2 THE “TRADITIONAL JAZZ” REVIVAL OF THE 1930s AND 1940s ............ 51 2.3 WRITINGS ABOUT RAGTIME IN THE 1940s ............................................ 59 2.3.1 The Jazz Record Book (1942) .......................................................... 63 2.3.2 Charles Payne Rogers: “Ragtime” (1942) ......................................... 66 2.3.3 Charles Wilford: “Ragtime—An Excavation” (1944) ........................ 68 vi 2.3.4 The Record Changer (1942-1957) ................................................... 71 2.3.5 The writings of Brun Campbell (1944-1951) ................................... 76 2.3.6 A summary of writings about ragtime in the 1940s ......................... 84 2.4 THEY ALL PLAYED RAGTIME (1950) ......................................................... 87 2.5 THE “HONKY-TONK” MOVEMENT OF THE 1950s .................................. 94 2.6 SUMMARY .............................................................................................. 102 3.0 RAGTIME SOCIETIES IN THE 1960s ...................................................................... 104 3.1 SOURCE MATERIAL AND THE IMPLICATIONS OF CHANGING COPYRIGHT LAWS ................................................................................. 107 3.2 HISTORICAL PERSPECTIVE: CHRISTENSEN’S RAGTIME REVIEW (1914-1918) ............................................................................................ 122 3.3 THE RAGTIME REVIEW (1962-1966) ....................................................... 127 3.4 THE RAGTIME SOCIETY AND THE RAGTIMER (1962-1986) ................. 145 3.5 THE MAPLE LEAF CLUB AND THE RAG TIMES (1967-2003) ................. 174 3.6 SUMMARY .............................................................................................. 187 4.0 THE SCOTT JOPLIN INTERNATIONAL RAGTIME FESTIVAL................................. 189 4.1 SEDALIA, MISSOURI: “THE CRADLE OF RAGTIME” ............................... 193 4.1.1 All ragtime roads lead to Sedalia ................................................... 197 4.2 SCOTT JOPLIN RAGTIME FESTIVAL PRE-HISTORY ................................ 205 4.3 THE FIRST AND SECOND SCOTT JOPLIN RAGTIME FESTIVALS (1974-1975) ............................................................................................ 207 4.4 THE SCOTT JOPLIN FESTIVAL SINCE 1983............................................. 222 vii 4.5 SUMMARY .............................................................................................. 231 5.0 THE WORLD CHAMPIONSHIP OLD-TIME PIANO PLAYING CONTEST .............. 232 5.1 HISTORICAL PERSPECTIVE: CUTTING CONTESTS ................................. 234 5.2 A BRIEF HISTORY OF THE WORLD CHAMPIONSHIP OLD-TIME PIANO PLAYING CONTEST .................................................. 241 5.3 THE CONTEST EXPERIENCE .................................................................... 251 5.4 PARTICIPANT REACTIONS ..................................................................... 267 5.5 SUMMARY .............................................................................................. 270 6.0 CONCLUSION: AUTHENTICITY AND COMMUNITY .......................................... 271 6.1 CRITERIA FOR AUTHENTICITY ............................................................... 276 6.2 AUTHENTICITY AND THE RAGTIME COMMUNITY .............................. 282 APPENDIX A. RAGTIME FESTIVALS ATTENDED BY THE AUTHOR (2003-2015) ........ 293 APPENDIX B. THEY ALL PLAYED RAGTIME PRESENTATION RECORD (1950) ........... 294 APPENDIX C. “TICKLISH TOM—A CAROLINA CAKEWALK” BY BRYAN S. WRIGHT .. 297 APPENDIX D. LISTING OF SELECTED INTERVIEWS .................................................... 302 BIBLIOGRAPHY ........................................................................................................... 304 viii LIST OF TABLES Table 3.1 LP records produced by the Ragtime Society ........................................... 160 Table 4.1 Ragtime revival compositions named in honor of Sedalia, Missouri ..................................................................................... 202 Table A-1 Ragtime festivals attended by the author (2003-2015) .............................. 293 ix LIST OF FIGURES Figure 2.1 Brun Campbell’s 78 rpm recording of “Maple Leaf Rag” (c. 1948) ............. 78 Figure 2.2 Honky-Tonk Piano (1950) .......................................................................... 97 Figure 3.1 Christensen’s Ragtime Review .................................................................. 123 Figure 3.2 The RagTime Review ............................................................................... 133 Figure 3.3 The Ragtimer ........................................................................................... 151 Figure 3.4 Classic & Modern Rags by Tom Shea ....................................................... 155 Figure 3.5 Prairie Ragtime and Monk ........................................................................ 158 Figure 3.6 Photos from the 1964 Ragtime Society “Bash” ......................................... 169 Figure 3.7 The Rag Times ......................................................................................... 179 Figure 4.1 Logo of the Sedalia Convention and Visitors Bureau ................................ 199 Figure 4.2 Ragtime community members gathered at Bob Darch’s grave during the 2013 Scott Joplin International Ragtime Festival ..................... 204 Figure 5.1 Rules of the 2011 World Championship Old-Time Piano Playing Contest .......................................................................................
Load more

Recommended publications
  • Seeing (For) Miles: Jazz, Race, and Objects of Performance
    W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2014 Seeing (for) Miles: Jazz, Race, and Objects of Performance Benjamin Park anderson College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the African American Studies Commons, and the American Studies Commons Recommended Citation anderson, Benjamin Park, "Seeing (for) Miles: Jazz, Race, and Objects of Performance" (2014). Dissertations, Theses, and Masters Projects. Paper 1539623644. https://dx.doi.org/doi:10.21220/s2-t267-zy28 This Dissertation is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. Seeing (for) Miles: Jazz, Race, and Objects of Performance Benjamin Park Anderson Richmond, Virginia Master of Arts, College of William and Mary, 2005 Bachelor of Arts, Virginia Commonwealth University, 2001 A Dissertation presented to the Graduate Faculty of the College of William and Mary in Candidacy for the Degree of Doctor of Philosophy American Studies Program College of William and Mary May 2014 APPROVAL PAGE This Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Benjamin Park Anderson Approved by T7 Associate Professor ur Knight, American Studies Program The College
    [Show full text]
  • Memphis Jug Baimi
    94, Puller Road, B L U E S Barnet, Herts., EN5 4HD, ~ L I N K U.K. Subscriptions £1.50 for six ( 54 sea mail, 58 air mail). Overseas International Money Orders only please or if by personal cheque please add an extra 50p to cover bank clearance charges. Editorial staff: Mike Black, John Stiff. Frank Sidebottom and Alan Balfour. Issue 2 — October/November 1973. Particular thanks to Valerie Wilmer (photos) and Dave Godby (special artwork). National Giro— 32 733 4002 Cover Photo> Memphis Minnie ( ^ ) Blues-Link 1973 editorial In this short editorial all I have space to mention is that we now have a Giro account and overseas readers may find it easier and cheaper to subscribe this way. Apologies to Kees van Wijngaarden whose name we left off “ The Dutch Blues Scene” in No. 1—red faces all round! Those of you who are still waiting for replies to letters — bear with us as yours truly (Mike) has had a spell in hospital and it’s taking time to get the backlog down. Next issue will be a bumper one for Christmas. CONTENTS PAGE Memphis Shakedown — Chris Smith 4 Leicester Blues Em pire — John Stretton & Bob Fisher 20 Obscure LP’ s— Frank Sidebottom 41 Kokomo Arnold — Leon Terjanian 27 Ragtime In The British Museum — Roger Millington 33 Memphis Minnie Dies in Memphis — Steve LaVere 31 Talkabout — Bob Groom 19 Sidetrackin’ — Frank Sidebottom 26 Book Review 40 Record Reviews 39 Contact Ads 42 £ Memphis Shakedown- The Memphis Jug Band On Record by Chris Smith Much has been written about the members of the Memphis Jug Band, notably by Bengt Olsson in Memphis Blues (Studio Vista 1970); surprisingly little, however has got into print about the music that the band played, beyond general outline.
    [Show full text]
  • The Solo Style of Jazz Clarinetist Johnny Dodds: 1923 – 1938
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 The solo ts yle of jazz clarinetist Johnny Dodds: 1923 - 1938 Patricia A. Martin Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Martin, Patricia A., "The os lo style of jazz clarinetist Johnny Dodds: 1923 - 1938" (2003). LSU Doctoral Dissertations. 1948. https://digitalcommons.lsu.edu/gradschool_dissertations/1948 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE SOLO STYLE OF JAZZ CLARINETIST JOHNNY DODDS: 1923 – 1938 A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College In partial fulfillment of the Requirements for the degree of Doctor of Musical Arts in The School of Music By Patricia A.Martin B.M., Eastman School of Music, 1984 M.M., Michigan State University, 1990 May 2003 ACKNOWLEDGMENTS This is dedicated to my father and mother for their unfailing love and support. This would not have been possible without my father, a retired dentist and jazz enthusiast, who infected me with his love of the art form and led me to discover some of the great jazz clarinetists. In addition I would like to thank Dr. William Grimes, Dr. Wallace McKenzie, Dr. Willis Delony, Associate Professor Steve Cohen and Dr.
    [Show full text]
  • Finding Aid for the Sheldon Harris Collection (MUM00682)
    University of Mississippi eGrove Archives & Special Collections: Finding Aids Library November 2020 Finding Aid for the Sheldon Harris Collection (MUM00682) Follow this and additional works at: https://egrove.olemiss.edu/finding_aids Recommended Citation Sheldon Harris Collection, Archives and Special Collections, J.D. Williams Library, The University of Mississippi This Finding Aid is brought to you for free and open access by the Library at eGrove. It has been accepted for inclusion in Archives & Special Collections: Finding Aids by an authorized administrator of eGrove. For more information, please contact [email protected]. University of Mississippi Libraries Finding aid for the Sheldon Harris Collection MUM00682 TABLE OF CONTENTS SUMMARY INFORMATION Summary Information Repository University of Mississippi Libraries Biographical Note Creator Scope and Content Note Harris, Sheldon Arrangement Title Administrative Information Sheldon Harris Collection Related Materials Date [inclusive] Controlled Access Headings circa 1834-1998 Collection Inventory Extent Series I. 78s 49.21 Linear feet Series II. Sheet Music General Physical Description note Series III. Photographs 71 boxes (49.21 linear feet) Series IV. Research Files Location: Blues Mixed materials [Boxes] 1-71 Abstract: Collection of recordings, sheet music, photographs and research materials gathered through Sheldon Harris' person collecting and research. Prefered Citation Sheldon Harris Collection, Archives and Special Collections, J.D. Williams Library, The University of Mississippi Return to Table of Contents » BIOGRAPHICAL NOTE Born in Cleveland, Ohio, Sheldon Harris was raised and educated in New York City. His interest in jazz and blues began as a record collector in the 1930s. As an after-hours interest, he attended extended jazz and blues history and appreciation classes during the late 1940s at New York University and the New School for Social Research, New York, under the direction of the late Dr.
    [Show full text]
  • Until the Late Twentieth Century, the Historiography and Analysis of Jazz Were Centered
    2 Diasporic Jazz Abstract: Until the late twentieth century, the historiography and analysis of jazz were centered on the US to the almost complete exclusion of any other region. This was largely driven by the assumption that only the “authentic” version of the music, as represented in its country of origin, was of aesthetic and historical interest in the jazz narrative; that the forms that emerged in other countries were simply rather pallid and enervated echoes of the “real thing.” With the growth of the New Jazz Studies, it has been increasingly understood that diasporic jazz has its own integrity, as well as holding valuable lessons in the processes of cultural globalization and diffusion and syncretism between musics of the supposed center and peripheries. This has been accompanied by challenges to the criterion of place- and race-based authenticity as a way of assessing the value of popular music forms in general. As the prototype for the globalization of popular music, diasporic jazz provides a richly instructive template for the study of the history of modernity as played out musically. The vigor and international impact of Australian jazz provide an instructive case study in the articulation and exemplification of these dynamics. Section 1 Page 1 of 19 2 Diasporic Jazz Running Head Right-hand: Diasporic Jazz Running Head Left-hand: Bruce Johnson 2 Diasporic Jazz Bruce Johnson New Jazz Studies and Diaspora The driving premise of this chapter is that “jazz was not ‘invented’ and then exported. It was invented in the process of being disseminated” (Johnson 2002a, 39). With the added impetus of the New Jazz Studies (NJS), it is now unnecessary to argue that point at length.
    [Show full text]
  • Jazz and the Cultural Transformation of America in the 1920S
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 Jazz and the cultural transformation of America in the 1920s Courtney Patterson Carney Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Carney, Courtney Patterson, "Jazz and the cultural transformation of America in the 1920s" (2003). LSU Doctoral Dissertations. 176. https://digitalcommons.lsu.edu/gradschool_dissertations/176 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. JAZZ AND THE CULTURAL TRANSFORMATION OF AMERICA IN THE 1920S A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of History by Courtney Patterson Carney B.A., Baylor University, 1996 M.A., Louisiana State University, 1998 December 2003 For Big ii ACKNOWLEDGEMENTS The real truth about it is no one gets it right The real truth about it is we’re all supposed to try1 Over the course of the last few years I have been in contact with a long list of people, many of whom have had some impact on this dissertation. At the University of Chicago, Deborah Gillaspie and Ray Gadke helped immensely by guiding me through the Chicago Jazz Archive.
    [Show full text]
  • Grapes of Wrath - These Days Capitol -96727 (Capitol Comp
    WEEKLY $3.00 $2.80 plus .20 GST Volume 54 No. 8 kDII July 27, 1991 the Grapesof Wrath 2 - RPM - July 27, 1991 Agreement is reached on the future of DAT (US) financial compensation is not very high." How- ever, Robertson views the deal as "a step The emergence of DAT (digital audio tape) only compound the home taping problem, forward in the relations between the hardware recorders, which have been relentlessly op- estimated to be costing the record industry manufacturers and the record industry." He posed by the record industry, could become a millions of dollars in lost royalties. goes on to reveal that the relationship between reality by next year. The Recording Industry Sony, a leading manufacturer of DAT, is the two industries "has always been tenuous, Association of America (RIAA) would appear ready to launch its Mini Disc. Philips, which and I think this is the first sign in improving to have given the nod to the controversial and first introduced the compact disc, is also ready relations." verythornyissueofdigitalaudiotape to move with its Digital Compact Cassette, a Robertson is already starting discussions recorders. A deal was struck recently in New system described as "combining the benefits with the hardware representatives in Canada to, York that would allow Philips and Sony to and success factors of Compact Cassette and as he suggests, "try and see if they would be proceed with their plans to introduce new Compact Disc into a single new sound carrier." willing to jointly go with us to Ottawa to initiate digital music formats in 1992.
    [Show full text]
  • The Journal of the Duke Ellington Society Uk Volume 23 Number 3 Autumn 2016
    THE JOURNAL OF THE DUKE ELLINGTON SOCIETY UK VOLUME 23 NUMBER 3 AUTUMN 2016 nil significat nisi pulsatur DUKE ELLINGTON SOCIETY UK http://dukeellington.org.uk DESUK COMMITTEE HONORARY MEMBERS OF DESUK Art Baron CHAIRMAN: Geoff Smith John Lamb Vincent Prudente VICE CHAIRMAN: Mike Coates Monsignor John Sanders SECRETARY: Quentin Bryar Tel: 0208 998 2761 Email: [email protected] HONORARY MEMBERS SADLY NO LONGER WITH US TREASURER: Grant Elliot Tel: 01284 753825 Bill Berry (13 October 2002) Email: [email protected] Harold Ashby (13 June 2003) Jimmy Woode (23 April 2005) MEMBERSHIP SECRETARY: Mike Coates Tel: 0114 234 8927 Humphrey Lyttelton (25 April 2008) Email: [email protected] Louie Bellson (14 February 2009) Joya Sherrill (28 June 2010) PUBLICITY: Chris Addison Tel:01642-274740 Alice Babs (11 February, 2014) Email: [email protected] Herb Jeffries (25 May 2014) MEETINGS: Antony Pepper Tel: 01342-314053 Derek Else (16 July 2014) Email: [email protected] Clark Terry (21 February 2015) Joe Temperley (11 May, 2016) COMMITTEE MEMBERS: Roger Boyes, Ian Buster Cooper (13 May 2016) Bradley, George Duncan, Frank Griffith, Frank Harvey Membership of Duke Ellington Society UK costs £25 SOCIETY NOTICES per year. Members receive quarterly a copy of the Society’s journal Blue Light. DESUK London Social Meetings: Civil Service Club, 13-15 Great Scotland Yard, London nd Payment may be made by: SW1A 2HJ; off Whitehall, Trafalgar Square end. 2 Saturday of the month, 2pm. Cheque, payable to DESUK drawn on a Sterling bank Antony Pepper, contact details as above. account and sent to The Treasurer, 55 Home Farm Lane, Bury St.
    [Show full text]
  • Booking Agency Info
    Kristin Asbjørnsen www.kristinsong.com Singer and songwriter Kristin Asbjørnsen is one of the most distinguished artists on the vibrating extended music scene in Europe. During the last decade, she has received overwhelming international response among critics and public alike for her unique musical expression. 2018 saw the release of Kristin’s Traces Of You. Based on her assured melodic flair and poetic lyrics, Kristin has on this critically acclaimed album explored new fields of music. Vocals, kora and guitars are woven creatively into a meditative and warm vibration, showing traces of West African music, lullabyes and Nordic contemporary jazz. Lyrical African ornaments unite in a playful dialogue with a sonorous guitar universe. Kristin sings in moving chorus with the Gambian griot Suntou Susso, using excerpts of her poems translated into Mandinka language. During 2019 Kristin will be touring in Europe in trio with the kora player Suntou Susso and guitarist Olav Torget, performing songs from Traces Of You, as well as songs from her afro-american spirituals repertoire. Kristin is well known for her great live-performances and she is always touring with extraordinary musicians. The Norwegian singer has featured on a number of album releases, as well as a series of tours and festival performances in Europe. Her previous solo albums I’ll meet you in the morning (2013), The night shines like the day (2009) and Wayfaring stranger (2006) were released across Europe via Emarcy/Universal. Wayfaring stranger sold to Platinum in Norway. Kristin made the score for the movie Factotum (Bukowski/Bent Hamer) in 2005. Kristin collaborates with the jazz pianist Tord Gustavsen (ECM).
    [Show full text]
  • Bulletin Germany/Holland 2007 July 5Th Ð 20Th
    THE www.amica.org Volume 44, Number 2 AMICA March/April 2007 AUTOMATIC MUSICAL INSTRUMENT COLLECTORS’ ASSOCIATION BULLETIN GERMANY/HOLLAND 2007 JULY 5TH – 20TH Tour Historic Germany and Holland with your fellow AMICANs. Visit Munich with its clock tower, Hofbrau House and many interesting attractions. See world-class museums with wonderful collections of automatic musical instruments. Bus through scenic countryside, with quaint towns full of wonderfully painted buildings. Shop in wood carving centers. Tour King Ludwig’s Linderhof Castle. Visit organ factories and private collections. Stroll through the Historic walled city of Rothenburg. Cruise the Beautiful Rhein River, with castles lining the waterway. Listen to dance organs, pianos, Dutch Street Organs and more. Enjoy the pumper contest, with contestants using Conrad Adenauer’s grand piano. There’s so much more to see and do. Applications will be coming soon, and you need to register right away….remember, registration is limited. Questions? Call Frank at 818-884-6849 ISSN #1533-9726 THE AMICA BULLETIN AUTOMATIC MUSICAL INSTRUMENT COLLECTORS' ASSOCIATION Published by the Automatic Musical Instrument Collectors’ Association, a non-profit, tax exempt group devoted to the restoration, distribution and enjoyment of musical instruments using perforated paper music rolls and perforated music books. AMICA was founded in San Francisco, California in 1963. PROFESSOR MICHAEL A. KUKRAL, PUBLISHER, 216 MADISON BLVD., TERRE HAUTE, IN 47803-1912 -- Phone 812-238-9656, E-mail: [email protected] Visit the AMICA Web page at: http://www.amica.org Associate Editor: Mr. Larry Givens • Editor Emeritus: Robin Pratt VOLUME 44, Number 2 March/April 2007 AMICA BULLETIN FEATURES Display and Classified Ads Articles for Publication Visit to San Sylmar’s Auto/Musical Collection .
    [Show full text]
  • Exposing Minstrelsy and Racial Representation Within American Tap Dance Performances of The
    UNIVERSITY OF CALIFORNIA Los Angeles Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Culture and Performance by Brynn Wein Shiovitz 2016 © Copyright by Brynn Wein Shiovitz 2016 ABSTRACT OF THE DISSERTATION Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950 by Brynn Wein Shiovitz Doctor of Philosophy in Culture and Performance University of California, Los Angeles, 2016 Professor Susan Leigh Foster, Chair Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950, looks at the many forms of masking at play in three pivotal, yet untheorized, tap dance performances of the twentieth century in order to expose how minstrelsy operates through various forms of masking. The three performances that I examine are: George M. Cohan’s production of Little Johnny ii Jones (1904), Eleanor Powell’s “Tribute to Bill Robinson” in Honolulu (1939), and Terry- Toons’ cartoon, “The Dancing Shoes” (1949). These performances share an obvious move away from the use of blackface makeup within a minstrel context, and a move towards the masked enjoyment in “black culture” as it contributes to the development of a uniquely American form of entertainment. In bringing these three disparate performances into dialogue I illuminate the many ways in which American entertainment has been built upon an Africanist aesthetic at the same time it has generally disparaged the black body.
    [Show full text]
  • The Marshall Plan in Austria 69
    CAS XXV CONTEMPORARY AUSTRIANAUSTRIAN STUDIES STUDIES | VOLUME VOLUME 25 25 This volume celebrates the study of Austria in the twentieth century by historians, political scientists and social scientists produced in the previous twenty-four volumes of Contemporary Austrian Studies. One contributor from each of the previous volumes has been asked to update the state of scholarship in the field addressed in the respective volume. The title “Austrian Studies Today,” then, attempts to reflect the state of the art of historical and social science related Bischof, Karlhofer (Eds.) • Austrian Studies Today studies of Austria over the past century, without claiming to be comprehensive. The volume thus covers many important themes of Austrian contemporary history and politics since the collapse of the Habsburg Monarchy in 1918—from World War I and its legacies, to the rise of authoritarian regimes in the 1930s and 1940s, to the reconstruction of republican Austria after World War II, the years of Grand Coalition governments and the Kreisky era, all the way to Austria joining the European Union in 1995 and its impact on Austria’s international status and domestic politics. EUROPE USA Austrian Studies Studies Today Today GünterGünter Bischof,Bischof, Ferdinand Ferdinand Karlhofer Karlhofer (Eds.) (Eds.) UNO UNO PRESS innsbruck university press UNO PRESS UNO PRESS innsbruck university press Austrian Studies Today Günter Bischof, Ferdinand Karlhofer (Eds.) CONTEMPORARY AUSTRIAN STUDIES | VOLUME 25 UNO PRESS innsbruck university press Copyright © 2016 by University of New Orleans Press All rights reserved under International and Pan-American Copyright Conventions. No part of this book may be reproduced or transmitted in any form, or by any means, electronic or mechanical, including photocopy, recording, or any information storage nd retrieval system, without prior permission in writing from the publisher.
    [Show full text]