E UGENE , O REGON -- THE U NIVERSITY TOWN The Bulletin P AR E XCELLENCE !

— Anne Dhu McLucas, University of Oregon OF THE S OCIETY FOR A MERICAN M USIC FOUNDED IN HONOR OF O SCAR G . T . S ONNECK Pesidents’ Weekend of 2005 st Vol. XXX, No. 3 Fall 2004 (February 17-20) will see the 31 Annual Conference of the Society for American Music meeting in Eugene, Oregon, hosted by the University of Oregon. Eugene is R ICHARD S TRAUSS ’S VISIT renowned for its track meets, its bike TO THE K LEINES STADCHEN OF M ORGANTOWN , paths, and its friendly, liberal, and casual WEST VIRGINIA atmosphere. The city is beautifully situ- ated between the Cascade Mountains to the East and the pristine Oregon Coast to — Christopher Wilkinson, West Virginia University the West-- each an hour away by car. The Willamette Valley is home to numerous This past March, the Division of of his art songs. That evening, Strauss vineyards and wineries. Some of the best Music of West Virginia University com- conducted the Pittsburgh Orchestra in pinot noir and pinot gris wines in the U.S. memorated the centenary of the visit to performances of two of his best known are produced here, and locally-grown campus by the German composer Richard tone poems: Tod und Verklärung and Till grapes also find their way into California Strauss, his wife, soprano Pauline de Eulenspiegels lustige Streiche. The story wines. Ahna Strauss, the Pittsburgh Orchestra, of the seemingly improbable series of The conference will be held primar- and its conductor, Victor Herbert, on events concerns not only the circumstanc- ily at the Eugene Hilton, in the heart of March 14, 1904. Strauss’s visit provided es leading up to his arrival but also sub- downtown. There is a wide array of won- the first occasion on which examples of sequent developments that would shape derful restaurants (in all price ranges), his orchestral music and art songs for the future of the study of music at West interesting shopping venues, galleries, solo voice and piano were performed in Virginia University for years to come, and and book and CD stores within easy Morgantown. In both instances, the com- still others associated in a small way with walking distance. The Hult Center for poser played a key role. In the afternoon the Performing Arts is next door to the of March 14, he accompanied his wife continued on page 45 hotel and the Willamette River, with its at the piano in performances of sixteen bike and jogging trails, is a short walk away. Some conference events will be held at the University. Transportation to these will be provided, though ambitious conference-goers may enjoy walking there. The Eugene Hilton may also be the only hotel in the world that features both a Ruth Crawford Seeger Room and a John Philip Sousa Room—it was clearly meant for a Society for American Music confer- ence! Weather February weather in Eugene is hard to predict. Temperatures can range from the 30s to the 60s, and there will probably be some sort of precipitation—though it is unlikely to be snow! The earliest flow- ers—magnolias and early bulbs—will Sidney Lloyd Wrightson, Richard Strauss, and Victor Herbert standing in front of the Pittsburgh already be in bloom and you will see Orchestra, Commencement Hall, West Virginia University, March 14, 1904. (Richard Strauss Institut und Archiv.) continued on page 42 F ROM THE P RESIDENT Dear Fellow Members of SAM, I also want to alert you to several there, no matter what. But renewals have I write this letter in the midst of actions voted upon during the Board’s become a problem for us in these times a presidential campaign, with daily recent meeting in Pittsburgh. First, the of fiscal agitation. At the same time, the headlines about the war in Iraq, and I University of Illinois Press has announced number of paper abstracts submitted for find it striking that the central issues of it will once again be raising the price of our conferences continues to rise striking- American culture—whether in politics American Music, and so SAM needs to ly (up to 206 for the Eugene conference), or the arts—are increasingly interlinked increase dues in order to cover those sub- as does overall attendance. We trust that with international ones. “You must take a scriptions (a subscription to the journal is all those who partake of the intellectual global point of view,” declared John Cage included in members’ dues). As a result, stimulation at our conferences—not to to a German interviewer in 1970, and individual memberships will be increas- mention the exceptionally supportive his words resonate even more strongly ing to $75, students to $35, retirees to atmosphere—will do their share. $38, international members to $75 (plus today. Those of us working in the various I look forward to greeting you in $5 additional postage), and institutional corners of American Studies are increas- Eugene! ingly faced with exploring transnational members to $90. The board has kept contexts. Doing so is one of the more fas- increases at a minimum and recognizes Sincerely, cinating aspects of working in our field. that SAM dues remain comparatively lower than those for similar organiza- Carol J. Oja, President SAM’s upcoming conference in tions; to the extent possible, we want to Eugene, Oregon (16-19 February 2005) keep it that way. Second, the board voted will engage us with many issues of the unanimously and enthusiastically to rec- Prayer contemporary world, especially through by Pauline Oliveros ommend that the newest incarnation of the presence of Pauline Oliveros, our the Committee on Cultural Diversity, cur- honorary member for 2005, whose I pray for deep listening in the new rently led by Josephine Wright, become a career—both literally and conceptually— century—listening alone— standing committee of SAM. Doing this has strong ties to the West Coast. A com- listening together—listening to others— requires an amendment of our bylaws, poser who makes community a priority, listening to oneself— which must be approved by a two-thirds Oliveros is at once a cutting-edge experi- listening to the earth—listening to the majority of members attending our annual mentalist, advocate of diversity, guru of universe—listening to the meeting. You are hereby notified that this spirituality, and activist for a holistic abundance that is—awakening to and important action will be placed on the feeling sound and silence as attainment of peace and peacefulness. agenda for our meeting in Eugene. all there is—helping to create an The conference will feature a concert by In closing, I want to call on every atmosphere of opening Oliveros, together with opportunities to for all to be heard, with the understanding single person reading this Bulletin to attend her Deep Listening Workshops, a that listening is healing. make sure they have paid their SAM dues, ritualized blend of meditation, listening, Deep listening in all its variations is whether as a renewal or a new member. and creativity. infinite. Deep listening is love. It’s easy for an organization like ours to A different set of contemporary be taken for granted when setting personal issues will be explored in a Presidential (published in Prayers for a Thousand Years, budgetary priorities. SAM just seems to be HarperSanFrancisco, 1999) Forum about the current state of music criticism, featuring two of the most pro- vocative critics of our day, both of whom The Bulletin of the Society for American are Northwest residents: David Schiff, Music well-known composer, contributor to the The Bulletin is published in the Winter (January), Spring (May), and Fall (September) Atlantic Monthly and New York Times, by the Society for American Music. Copyright 2004 by the Society for American Music, and professor at Reed College; and Ann ISSN 0196-7967. Powers, former rock critic for the New York Times and current Senior Curator Editorial Board at Seattle’s Experience Music Project. Interim Editor...... Mariana Whitmer ([email protected]) As internet journalism grows, coverage Bibliographer ...... Joice Waterhouse Gibson ([email protected]) of concert-music in newspapers shrinks, and various corners of the music indus- Indexer ...... Amy C. Beal ([email protected]) try function in a state of siege, our times Items for submission should be addressed to Mariana Whitmer, Society for American Music, are witnessing major changes in the role Stephen Foster Memorial, University of Pittsburgh, Pittsburgh, PA 15260. All materials of music critics and the audiences they should be submitted in printed copy, on disk, or as attachment to e-mail. Photographs or address. other graphical materials should be accompanied by captions and desired location in the text. Deadlines for submission of materials are 15 April, 15 August, and 15 December.

38 The Bulletin of the Society for American Music • Vol. XXX, No. 3 The Bulletin of the Society for American Music • Vol. XXX, No. 3 39 formative years that gave her no choice (now Virginia State University). Also dur- Undine Smith Moore: but to become a musician. ing this time, a representation of promi- Moore was born on August 25, 1904 nent African Americans in Petersburg A Centennial Glimpse in rural Jarratt, Virginia, which today has succeeded in convincing the School a population of fewer than 600. When Board to allow the hiring of African of the Making of a she was about three years old, her family American teachers for the public school Musician moved approximately thirty miles away system.4 The first issue of Petersburg’s to the city of Petersburg, but her experi- first African American secular newspaper, ences in Jarratt were not forgotten. She published weekly, appeared during the — Ethel Norris Haughton, Virginia State University remembered the singing at the Morning summer of 1883. This newspaper, titled Star Baptist Church and the hollers of her The Lancet, played a vital role in encour- aunts at the death of Cousin Johnny. But, aging cultural pursuits by printing such In the keynote address that it was Petersburg where her musical abili- statements as “Culture and rare attain- Undine Smith Moore presented at the ties were nurtured. She stated ments are evidences of true ladies and 5 First National Congress on Women in As a woman, as a Black woman, as a gentlemen.” Its issues provided readers Music held at New York University on musician, I think the town of Petersburg with information about a variety of musi- March 27, 1981, she explained that when was a good choice for me when my family cal topics, including ancient instruments, she graduated from high school, decided to leave Jarratt. Viewed objec- Chopin’s life, the latest operas of Johann . . . I had done well enough to tively by its obvious limitations, one might Strauss, and news of the rivalry between choose to concentrate in any one of sever- question Petersburg as a good place for a cornetists Jules Levy and Ada Hewitt. It al areas, but the thought of being anything musician to grow up. What did Petersburg also carried advertisements for items such other than a musician never once crossed have? In the first place, the lives of Black as musical instruments and sheet music. my mind.1 people in Petersburg were saturated with Among the advertisements that appeared music of one kind or another.3 in the early issues were those for piano The significance of this statement lies in lessons taught by Caroline “Carrie” Bragg the fact that it was made by an African The value that Petersburg’s African (later, Campbell), who was Petersburg’s American woman born in a small, rural Americans placed on music when Moore first-known African American piano Virginia community one hundred years was growing up there can be traced teacher. Bragg was one the first students ago. Often referred to as the “Dean of back to the late 1870s. The fact that at VN&CI when the school opened its Black Women Composers,” Moore, who Petersburg’s African Americans were doors the following October and began died on February 6, 1989, had numer- forming musical clubs in the late 1870s teaching music at the school during her ous compositions to her credit, including is especially significant once it is known senior year.6 More musical clubs were choral, vocal, instrumental, and chamber that the Conservative Party had regained organized in the 1880s, including two works. She was pleased to announce power in local government in 1875, caus- named in honor of pianist Thomas “Blind in the keynote address that she had ing African Americans to lose rights that Tom” Wiggins and soprano Marie Selika. completed her largest work, the cantata they had just begun to receive during In 1883, following failed attempts to gain Scenes from the Life of a Martyr based Reconstruction. Undeterred, Petersburg’s permission from the white Petersburg on the life of Dr. Martin Luther King, Jr., African American residents formed musi- Musical Association to attend its concerts, and that the work would be performed cal clubs, including the Aeolian Club, African American residents formed their by the Richmond Symphony Orchestra the Vocal Echo Club, and the Star Club. 2 own Petersburg Musical Association. during its 1981-82 season. She also In addition to the musical clubs, there Cultural opportunities in the African had to her credit, many former students, were other organizations, such as the American community continued to including Miss Camilla Williams and Chorannesse Literary and Social Club expand in the 1890s. At least two new Dr. William “Billy” Taylor, who distin- (organized in 1878) that had musical organizations were founded and the “col- guished themselves as performers, com- components. The local newspaper carried ored” Y. M. C. A., organized in 1890, used posers, and music scholars. Her creativity accounts of the activities of these organi- its meeting space to present concerts. In as a composer and acumen as an educator zations, some of which solicited recogni- 1893 Sisseretta Jones performed at the earned for her several awards, includ- tion by serenading the newspaper offices. Oak Street A. M. E. Z. Church, along ing the Seventh Annual Humanitarian A change of political power from with local talent. In 1897, Flora Batson Award from Fisk University (her alma the Conservative Party to the Readjuster performed at the A. M. E. Z. Church and mater), the National Association of Black Party (so-named because the party was Marie Selika, assisted by her husband, Musicians Award, a Governor’s Award working to “readjust” the state debt) in the Sampson Williams, performed at the for the Arts in Virginia, a Pulitzer Prize early 1880s brought new hope to African Union Street C. M. E. Church for the ben- nomination (for Scenes), and honorary Americans in the state. Petersburg’s efit of the “Y.” In the early years of the doctorates from Indiana University and African Americans had played a tre- 20th century, the “Y” moved to a larger Virginia State University (where she mendous role in electing Readjuster space that included a 400-seat auditorium. taught from 1927 until 1972). The centen- candidates to office and the Party granted It was in this auditorium where soprano nial of her birth offers an appropriate time them rewards, including the chartering of to consider the musical experiences of her Virginia Normal and Collegiate Institute continued on page 42 38 The Bulletin of the Society for American Music • Vol. XXX, No. 3 The Bulletin of the Society for American Music • Vol. XXX, No. 3 39 R EMEMBRANCES entire house blew up, and with it, their came to Sturbridge to a gathering called Arthur F. Schrader (1925-2004) collection of books, microfilms, notes, “Joyful Sounds: Early American Music instruments—everything. Only one set of in its Social Setting.” Irving Lowens -- Kate Van Winkle Keller cards for the bicentennial book survived, proposed an organization with this goal blown off the windowsill out into the yard in mind, and the wheels were set in and covered with soot. motion for The Sonneck Society, now the Arthur Francis Schrader came of age Brokenhearted but undaunted, they Society for American Music. In an article in the folk revival of the 1940s and 1950s. set out to rebuild the lost collection with in the Sonneck Society Bulletin, vol. 17/3 He loved folk song and international folk help from friends and colleagues. Old (1991), 97-100, Art described the gesta- dance, getting good tastes of both while Sturbridge Village supported a return trip tion and accomplishments of “Joyful serving with the U.S. Army in Europe to England where they re-photographed Sounds.” during WWII. His army experience the resources they had lost. Art prided A few weeks later, Barbara Lambert wasn’t all singing and dancing, however. himself on his abilities with a camera hosted a weekend celebration of music He fought with ground troops from Anzio and did his own processing. He mastered in Colonial Massachusetts at the Boston into France, earning four Purple Heart the art of half-frame photography so he Fine Arts Museum, and Art’s presenta- citations and a silver star for bravery in could get twice as many images of old tion there rocked a few boats with his battle. After the war he completed his sheet music and song books on his film. insistence that song texts from colonial degree in History at the University of He made progress but his job at OSV times simply shouldn’t be matched up Buffalo in 1950 and began a career of soon dominated his time. Learning of with folk tunes and sung with guitars. He teaching. the Isaiah Thomas Broadside Collection demonstrated how to find the authentic He found that by adding music to (1814) at the American Antiquarian music, how it could be tested, and why his history lessons, he reached his stu- Society in Worcester, Massachusetts, he it mattered. Many of the “Joyful Sounds” dents with more power and thus began realized how important it could be to the participants were in Boston and met his second career which would later be interpretive program. He filmed the set so again and discussed the formation of a called “Singing History.” With his trusty that he could introduce those songs into new Society. Thus the first salvos went guitar he sang old songs and new songs, the Village interpretive scheme and then out as this group of concerned musical always fitting them into their historical set out to find period tunes for the songs scholars looked ahead to the bicenten- niche. When he joined the staff at Old on the broadsides. With Village support, nial and bemoaned the paucity of accurate Sturbridge Village in 1961 he found a he found himself working more and more resources available to guide local town new aspect to the old songs. In an envi- on those songs and less and less on the and national celebrations. ronment where the clapboards and nails unfunded bicentennial book. From his position at OSV, Art helped on the buildings had to be authentic and It’s hard to believe, but in 1973, Art any and all who came to him needing the guides wore funny old clothes without was among a very few scholars looking guidance and help. His favorite aphorism zippers and other modern bits, Art insist- at early American music with a fresh was that if you “cast your bread upon ed that music too should be subjected to eye—an eye to authenticity of source and the waters, it will come back as buttered the same rigid standards of authenticity. performance. Oscar Sonneck had led the scones!” So it was that several of us He began to research the music played bibliographic way decades earlier, John who attended “Joyful Sounds” became in rural New England villages—he dis- Tasker Howard opened a few more doors. friends with this warm hearted singer carded his spanish guitar and began an H. Earle Johnson, Alan Buechner, H. with the bushy expressive eyebrows, and ambitious program of music that could be Wiley Hitchcock, Nicholas Tawa, Raoul the sharing of enthusiasm and assistance documented to the Village period. Camus, Allen Britton and a few oth- that would characterize the Society for In his free time, he and his beloved ers were producing studies, but the vast American Music became a reality for us. wife Penn Elizabeth Burke Schrader majority of music historians, teachers, As Art continued his work on early (1924-1997) were looking ahead to and the public still read in textbooks and American music, he was the recipient of 1976 and the American bicentennial magazine articles that the colonists only an NEH grant to work on the Thomas celebration. Half of his time was given sang psalms and didn’t permit secular Broadsides as a fellow at the American to the OSV period, but the rest went to music into their lives until about 1800. Antiquarian Society. The Society later recovering the songs and the music from It was in 1972 that Art convinced Old recognized his accomplishments by elect- 1776. They hoped to produce a songbook Sturbridge Village to host a conference of ing him a member in 1995. He presented in time for the bicentennial. In 1970, people interested in “accurate informa- three major concerts of historical music at disaster struck the Schrader household. tion about American music and music the Society over the years, the last being Luckily, they were both in Providence, in America.” It was clear that it was a on the occasion of the Society’s 175th happily working at the Harris Collection, desperately needed focus. On a beautiful anniversary, always selecting his program when a gas line outside their house was weekend in May 1973, over 150 people from items in the Society’s collection. In ruptured by an errant bulldozer. The

40 The Bulletin of the Society for American Music • Vol. XXX, No. 3 The Bulletin of the Society for American Music • Vol. XXX, No. 3 41 her remarks made at the memorial service American Music, 28/2 (Summer, 2002), on June 26, 2004, at the Meeting House 17-18. on the Green in Old Sturbridge Village, “Songs in Vogue with the Vulgar, The Ellen Dunlap, president of the Society, Isaiah Thomas Broadsides.” With Kate lauded Art’s generosity to others and his Van Winkle Keller. In preparation for the modesty, quoting him as saying “I have American Antiquarian Society. done enough reading on the subject to know I have much to learn.” Art spent so much of his time in live performance and teaching that his written output is not large, but it is succinct and a good guide to the business of teasing out information about period music in its social setting. Arthur died on April 4, 2004. He had read and edited all the essays on the Isaiah Thomas broadsides that I wrote up from the notes we assem- The Society for American Music bled together. We have lost a fierce and The Society for American Music promotes research, educational projects, and the dissemination of infor- valuable advocate for accuracy in early mation concerning all subjects and periods embraced by the field of music in American life. Individual American music studies but his work and and institutional members receive the quarterly journal American Music, the Bulletin, and the annotated Membership Directory. Direct all inquiries to The Society for American Music, Stephen Foster Memorial, those he inspired and guided will carry on University of Pittsburgh, Pittsburgh, PA 15260; (412) 624-3031; [email protected]. the work. Officers of the Society President ...... Carol Oja Schrader Works List: President-Elect ...... Michael Broyles “Arcade Revisited: Some Additional Vice President...... Ron Pen Notes for A Pioneer Songster,” New York Secretary...... R. Allen Lott Treasurer ...... George Keck Folklore Quarterly, 24/1 (March 1968), Members-at-large...... Susan Key, Gayle Murchison, Vivian Perlis, 16-26. Denise Von Glahn, Wayne Shirley, Josephine Wright In-house programs and reports in the Old Editor, American Music...... David Nicholls Sturbridge Village library, including: Editor, SAM Website ...... Larry Worster “The Annotated Moore’s Irish Melodies,” Executive Director ...... Mariana Whitmer Conference Manager ...... James Hines August 19. 1977. Standing Committee Chairs: “Seven Traditional Ballads in New Finance: William Everett; Long-Range Planning: Paul Wells, Development: Deane Root, Honors and England,” August 28, 1978. Awards: Dale Cockrell, 2003 Lowens Award (Book): Howard Pollack, 2003 Lowens Award (Article): “Song to Cultivate the Sensations of Lenore Coral, Housewright Dissertation 2003: Susan Key, Mark TuckerAward : Jeffrey Magee, Membership: Freedom,” in Barbara Lambert, ed., Music Karen Bryan; Conference Site Selection: Kay Norton; Nominating: Katherine Preston; Public Relations: in Colonial Massachusetts, vol. 1 (Boston: Liane Curtis; Book Publications Subvention (Johnson Bequest): James Deaville, Silent Auction: Dianna Eiland; Publications: Paul Wells The Colonial Society of Massachusetts, 1980), 105-156. Appointments and Ad Hoc Committees: ACLS Delegate: Dale Cockrell;Archivist: Susan Koutsky; Committee on Publication ofAmerican Music: “The Meandering Banks of the Dee,” New Judith McCulloh; US-RILM Representative: Denise Von Glahn; Registered Agent for the District of York Folklore, 8/1-2 (Summer, 1982), 65- Columbia: Cyrilla Barr 84. Interest Groups: Book review: William J. Kaufman and American Band History: Susan Koutsky; American Music in American Schools and Colleges: Christine Thomas E. Chency, eds., The Mormon de Catanzaro and James V. Worman; Folk and Traditional Music: Ron Pen; Gay/Lesbian/Bisexual/ Pioneer Songbook, in American Music Transgendered: David Patterson; Gospel and Church Music: Roxanne Reed; Historiography: Michael Pisani; Music of Latin America and the Caribbean: Paul Laird; Musical Biography: Stuart Feder; Musical Theatre: 2/3 (Fall, 1984), 93. Anna Wheeler Gentry; Popular Music: Kirsten Stauffer Todd, Philip A. Todd; Research on Gender and “Joyful Sounds,” The Bulletin of the American Music: Liane Curtis; Research Resources:Alisa Rata; EarlyAmerican Music: David Hildebrand; Society for American Music, 17/3 (Fall, 20th Century Music: David Patterson 1991), 97-100 “‘The World Turned Upside Down’: A Electronic Resources Listserv: [email protected] Yorktown March, or Music to Surrender Website: http://www.american-music.org By,” American Music 16/2 (Summer, 1998), 180-215. Annual Conferences “Singing Shear History,” Journal of the 31st Annual Conference, Eugene, Oregon Early Republic, Winter 2001, 667-690. Judy Tsou, Program Committee Chair Anne Dhu McLucas, Local Arrangements Chair “Emotional Baggage and Two National Anthems,” The Bulletin of the Society for November is AMERICAN MUSIC MONTH

40 The Bulletin of the Society for American Music • Vol. XXX, No. 3 The Bulletin of the Society for American Music • Vol. XXX, No. 3 4 1 “Moore” continued from p. 39 E. Azalia Hackley and violinist Joseph Douglass performed in 1903 and 1904, respectively. This was musical environment that Moore’s family found when they moved to Petersburg. Certainly, some of the most important musical experiences of Moore’s early years in Petersburg were those provided by Gillfield Baptist Church, “Eugene” continued from page 37 Seattle, and almost always involves the church that she joined and became smaller planes—so you should make res- a life-long member. One of the leading people out walking and biking regardless ervations early. America West, Horizon singers at Gillfield was William Henry of the weather. Bring warm clothes and a Air (aka Air Alaska), Northwest Air, Johnson, whose reputation as a bass has raincoat, but be prepared for anything! and United Express all serve Eugene. been passed down through the decades. In Special Events Local Arrangements will provide free 1876, Johnson began studies at Hampton Our Honorary Member, composer van transportation from the airport if you Institute (now University). In his autobi- Pauline Oliveros, will be featured in a send us your flight information at least ography, he wrote concert on Friday night at the University, a week ahead of time to the following My name from my entrance was “The as well as in her famous “Deep Listening” e-mail address: [email protected]. Fellow with the Big Voice.” My voice sessions occurring throughout the week at A cab to the Hilton will cost $20. It is made me a factor to be reckoned with in the University and at the Hilton. (For also an option to fly into Portland, rent all singing, regular service in church and more on Deep Listening, see her web- a car, and drive to Eugene, which will Sunday School, at Hygea Hotel, Fortress site: http://www.deeplistening.org ) On take a bit over two hours on the I-5 Monroe, and on all concert occasions.7 Thursday afternoon the Oregon Festival of freeway. There is ample free parking at American Music will host a reception and the Hilton. Amtrak serves Eugene from Johnson had been invited by Orpheus the traditional Sacred Harp Sing at their Vancouver and Seattle to the North and McAdoo, a former member of the Fisk venue near the Hilton, the Shedd,—for- Los Angeles to the South. The Eugene Jubilee Singers, to join his profes- merly a Baptist church. We will be joined train depot is walking distance from the sional jubilee singers and go to Europe. there by our own Sacred Harp community hotel. Bus service from both directions Following his mother’s wishes, Johnson singers. On Thursday night, conference via Greyhound is also available. (Exact turned down the offer. Johnson returned attendees will have a choice of jazz, folk, travel directions for cars will be provided to Petersburg where he joined the public blues, pop, and/or contemporary classical in the Conference Announcement to come school system. He was a regular soloist music presented by the various music in December.) at Gillfield, as well as for various occa- organizations in town. The downtown Because so many of our members sions in the city, and when the church gallery, DIVA, will present a series of live on the East Coast, many people may choir was reorganized in 1902, he became films highlighting West Coast compos- try to leave early on Sunday morning. We one of its first members. One example of ers, which will be shown at various times are therefore hosting only optional events esteem with which the quality of music throughout the conference. The newly on Sunday (an Oliveros Deep Listening at Gillfield was held during Moore’s renovated University Art Museum will be with brunch, for instance, and/or a visit childhood was the performance of a hosting an Andy Warhol exhibit, which to a vineyard) rather than papers. Since it quartet of male voices from the church can be enjoyed Friday, along with dinner is physically impossible for everyone to on a program held for the visit of Virginia at a nearby restaurant before the Oliveros leave early, we hope you will stagger your Governor William Hodges Mann to the concert. The University of Oregon School departures throughout the day Sunday. “Y” in 1913. of Music will host a reception for the Planes leave normally from 5:00 a.m. Gillfield purchased its first pipe organ Society after the Oliveros concert on on through the morning and up to 7:50 in 1917. In 1919, the church’s search for Friday. On Saturday a special President’s p.m., but once again, early reservations a qualified person to play the instrument session featuring two prominent critics of are advisable since the planes are small! led them to hire Johnnella Frazer (later classical and rock music will take place. Come to Eugene, and enjoy the Jackson), a Fisk graduate who had recent- And of course on Saturday night the tradi- unique atmosphere of one of the best ly been hired as the first full-time piano tional SAM banquet will take place, with university towns in the Northwest! True teacher at Virginia Normal (by that time live music for lively dancing. to the region, coffee and/or tea-houses are Virginia Normal and Industrial Institute). found on nearly every block; tofu and Because she did not retire until 1965, she Transportation and Moore were colleagues at the institu- Air transportation to Eugene comes granola are plentiful; the grass is green; the trees are lush; people are friendly (if tion for thirty-eight years. Moore, herself, through a variety of larger cities: Denver, contributed to the musical history of San Francisco, Portland, Salt Lake City, sometimes eccentric); and micro-brews and delicious local wines are abundant.

42 The Bulletin of the Society for American Music • Vol. XXX, No. 3 The Bulletin of the Society for American Music • Vol. XXX, No. 3 43 Gillfield by serving, at various times, as 1899, who became head of the music 5 The Lancet, 12 Aug. 1882. 6 organist and choir director. department and who was responsible for The first advertisement appeared in The Moore recalled that her own piano hiring Moore in 1927.10 Lancet, 7 Jul. 1883. 7 William Henry Johnson, A Bird’s Eye View study was something that was expected of What did Petersburg have that of Happenings in the Life of William Henry children in general. She explained that inspired little Undine Smith to grow into Johnson of Petersburg, Virginia (Petersburg, Va: a consummate educator and composer? Owen Printing Co., 1927), 8-9. . . . there was a veritable fascination 8 with piano study. A person walking along This glimpse into the Petersburg of Moore, “My Life in Music,” 10. Here the Moore’s childhood shows that the city had name “Patty Campbell” in the transcription the street carrying a music roll, that is should be “Carrie Campbell.” “Miss Carrie” an African American community with an a leatherette forerunner of the attache married Roger Campbell, a barber who was also case, walked proudly. This was clearly a indomitable spirit to set its own path and involved in music-making. person of culture, affluent enough to pay to acquire all those intangible things that 9 Moore, My Life in Music,” 10. Mrs. Darden Miss Patty [Carrie] Campbell one dollar enhance the quality of life. As she spoke was an aunt of pianist William Duncan Allen, a month for eight lessons. in 1981, Moore explained that who gained fame as Todd Duncan’s accompa- nist. Mrs. Darden was at Fisk at the same time Motivation is a much used word these as Roland Hayes and Hayes performed a group The progress of children was inquired days. Educators regard it as an extremely of solos on her senior recital. about in the community and noted with important factor in growth. Consider the 10 Moore married Dr. James Arthur Moore in pleasure. The favorite question asked quality of motivation in the life I have 1938. Her husband was the head of Virginia to test the advancement of children was described. To live in a society where one’s State’s Health and Physical Education 8 Department. He was also head of the school’s “You playing sheet music yet?” favorite art is highly regarded, highly concert series, which brought to the campus Though Moore credits “Miss Carrie” valued, where one’s progress is a source such famed musicians as Duke Ellington. of pride to the family and the entire com- 11 Moore, “My Life in Music,” 10. with causing the “fascination with piano 12 study,” she studied with Mrs. Lillian Allen munity is enough to create in a child a The [Petersburg] Progress-Index, 5 Jan. 1975, 9. Darden, a Fisk graduate and physician’s fine sense of self-worth and a high level 11 13 The [Petersburg] Progress-Index, 5 Jan. 1975, wife who moved to the city about five of aspiration. 9. years after Moore herself. According to The spirit of sharing knowledge, motivat- Moore, Mrs. Darden’s ing youth, and developing self-worth that arrival was a major event in the town, as started Moore on the path to great accom- well as in my own life. Now, the range of plishments permeated her life and profes- music performed and heard was much sional career. This spirit also explains broader and one’s enjoyment could be her statement that “I’ve always thought Moving? Graduating? enhanced by the development of a solid of myself as a teacher who composes 12 Let the Society know about these important technique.9 rather than a composer who teaches.” Undine Smith Moore was a product of changes in your life. SAM@american- Mrs. Darden created occasions to provide her environment and she committed her- music.org. Moore with as many musical experiences self to carrying on the legacy that was as possible. One of the proudest moments handed to her. To know this about her from Moore’s elementary school days is to more fully understand a statement was when she was called upon to play found on a certificate presented to her for the high school graduation. These and in 1972 by former Mayor John Lindsey other opportunities developed her musical Back Issues of that reads: “To One Who Knows the True growth and confidence. Mrs. Darden’s Meaning of Service, Dedication, Beauty guidance and teaching led Moore to the American Music and Love.”13 decision to study at Fisk, despite hav- ing been offered a scholarship to attend *** Back issues of American Music may be 1 VN&II. Moore, Undine Smith, “My Life in Music,” obtained by contacting the University of Moore’s determination to succeed transcribed by Jeannie Pool, Journal of the Illinois Press. Single issues are $15.00, International Alliance for Women in Music3,1 volumes $59.00. Orders must be pre- as a musician—as an African American (February 1997), 9-15. This transcription of the musician—as an African American speech may be accessed on a number of web sites paid with a check in US dollars, drawn woman musician—was fortified by the that are linked to www.undinesmithmoore.com. on a US bank, International Money 2 examples set for her by women such as Moore, “My Life in Music,” 14. Order, Visa, MasterCard, or American 3 Moore, “My Life in Music,” 10. Carrie Bragg Campbell, Lillian Allen 4 Express. Darden, and Johnnella Frazer Jackson. Petersburg had provided public schools for African Americans since the end of the Civil In addition, the dominant forces in build- War, but the School Board had refused to hire Send your order to: Journals Circulation ing the music program at VN&II were African American teachers. The fight to change women. One of these was Miss Anna that policy was based on the fear that white Manager, University of Illinois Press, Laura Lindsay, a Fisk graduate hired in teachers in “colored” schools were shortchang- 1325 South Oak Street, Champaign IL ing the students. 61820. Or fax: 217-244-9910.

42 The Bulletin of the Society for American Music • Vol. XXX, No. 3 The Bulletin of the Society for American Music • Vol. XXX, No. 3 43 N EWS OF THE S OCIETY S TUDENT F ORUM

The SAM Student Forum organized a successful panel for the 2004 Cleveland Renewals conference on “Teaching American The Society for American Music Music.” The positive response to the Thank you for making the Society is pleased to welcome these new panel demonstrates three things: the for American Music your professional members: growing number of student members organization in 2004. SAM maintains of SAM, their enthusiasm about and a calendar-year membership, and your Individuals: commitment to studying and teaching current membership will expire December Dr. Carol Neuls-Bates, New York, American music, and the continued sup- 31, 2004. To ensure that you continue NY port of the Society’s senior members to receive the journal, American Music, L. Clayton, Princeton, NJ in guiding students toward their goals. Concomitant with the current growth of without interruption, we encourage you to Eileen Hayes, Denton, TX renew your membership as soon as possible. the organization’s student membership Linda Florjancic, Bowling Green, is an increasing demand for assistance Renewal forms will be mailed soon, so OH please return it promptly. in negotiating the daunting task of enter- Douglas Gardner, Columbus, IN ing the academic job market for the first time. In response to this need, therefore, Foreign Individual Members: the SAM Student Forum will present Your vote counts! Included in your Helen Smith, Redditch, Worcs. UK a panel at the 2005 conference in renewal packet will also be a ballot. Please Eugene, Oregon, that is directed don’t forget to return this important docu- Student Members: toward the practical concerns of the new ment with your dues in the envelope pro- Ana Alonso Minutti, Davis, CA Ph.D. who is embarking upon a career vided. in academia. Entitled “So I Got a Ph.D., Nikos Pappas, Lexington, KY Now What?: Entering the Academic Job Joshua S. Duchan, Westport, CT Contributions Market,” the panel will comprise fac- Emily Murphy, Seattle, WA ulty members at various stages of their Judy Brady, Madison, WI Look for the contribution form in your careers who will discuss their experi- renewal packet to help the Society achieve Christine Fena, St. James, NY ences and offer advice in the following its important goals This year contributions Jennifer Wilson, Princeton, NJ areas: writing a curriculum vitae, apply- to the Student Travel Endowment Fund can ing for jobs, the formal interview, and be designated for this year’s conference. surviving the first year. This panel is Please indicate whether you would like designed to offer graduate students the your contribution to help send a student to skills and knowledge necessary to enjoy Eugene, or applied to the endowment to help a positive experience while on the job build the fund for students in the future. New Bulletin Editor Sought market, leading to an equally successful The Society is seeking a new Editor for academic career in the field of American music studies. Conference Update the Bulletin to be responsible for manag- ing the overall content and compilation of the Bulletin. This may include soliciting There will be a SAM Student Forum onference information will be avail- C short articles, in addition to the collection business meeting at the Eugene able on the SAM website (www.american- of reports and announcements of interest conference at which student members music.org) soon! Take advantage of the to the membership. The responsibilities can voice their opinions and elect a reduced conference rate by registering of typesetting, printing, and mailing of new co-chair. Stay tuned for more early! the Bulletin will continue to reside with information. The SAM website fea- the Society office. Individuals who would tures a page for student members; go to Sight and Sound like to take an active role in assisting the for updates as the con- The Board of Trustees is pleased to publication are asked to contact Paul ference date nears. announce that the Non-Print Publication Wells via email: [email protected] or Subvention has now been re-named “Sight by phone: (615) 898-2449. Questions Good luck with the rest of the fall and Sound,” more accurately representing may also be directed to Mariana Whitmer semester, and see you in March! the intent of the subvention. ([email protected] or (412) 624-3031.

44 The Bulletin of the Society for American Music • Vol. XXX, No. 3 The Bulletin of the Society for American Music • Vol. XXX, No. 3 45 in America following the Civil War, and would be somewhat more than $2,250.00, “Strauss” continued from page 37 who better epitomized the genius of including, of course, Strauss’s fee. German musical expression at that time To build that audience, the Dean events that occurred during the collapse of than Richard Strauss? gave lectures, performed some of the Third Reich at the end of World War It was through his acquaintance Strauss’s songs and also made use of The II. with Henry Wolfsohn of the Wolfsohn Athenæum, the weekly student newspaper The most enduring evidence of Musical Bureau in New York City who and, to a lesser extent, Morgantown’s Strauss’s visit is an extraordinary photo- organized Strauss’s first American tour, newspapers to make the case. His cam- graph with the composer standing between that Wrightson arranged for the composer paign began early with an article in The the dean of the School of Music, Sidney and his spouse to come to Morgantown. Athenæum of October 2, 1903: the first Lloyd Wrightson, holding the score of Till When he learned subsequently that issue of the academic year. Headlined Eulenspiegel, and Victor Herbert holding Strauss had been booked to conduct the “Strauss and Herbert will give a big musi- that of Tod und Verklärung. Behind them Pittsburgh Orchestra on March 10 and 11, cal event on March 14, 1904,” it described are members of the Pittsburgh Orchestra. he resolved to create, in his words, “the Wrightson’s plans for the event and noted It was Wrightson who was responsible for biggest musical event in West Virginia. that: organizing the occasion memorialized by Business men and banks will close at The West Virginia University this image. noon that day and I shall run special trains will be the only university, col- Born in London in 1869, like Strauss from Fairmont and Uniontown.” (Waters, lege, school of music, or similar Wrightson was a member of a musical Herbert, 243). The contract was signed on institution in American that will family. His maternal grandfather had con- September 9, 1903. In addition to provid- have the Strausses. This is indeed ducted Queen Victoria’s private orchestra ing room and board for 68 musicians, the a distinction and will give the as well as the opera orchestra at Drury University agreed to pay them a total of School of Music a prestige that Lane. His great uncle was reportedly a $753.60. nothing else could. It will make distinguished organist. According to a Now all Wrightson had to do was to it talked of the country over, and brief biography in the School of Music build an audience from a population of if the building of a great music Catalog, Wrightson had begun singing as students and local residents who would school here is a matter of any a boy soprano at the age of eight and in probably have known little of Richard moment, the money expended is his early teens was a soloist at St. Paul’s Strauss and even less of his music. At the well invested. Cathedral in London. At sixteen (presum- same time, Wrightson needed to cultivate The article then discussed the ably after his voice changed), he spent a group of patrons whose personal sup- significance of the composer: three years studying in Paris, Venice, port could help him defray the total costs and elsewhere on the Continent, then of this enterprise which he calculated Richard Strauss has been charac- moved to Chicago for three years to lead choirs in two churches. Next, he returned to London to study voice with a lead- ing pedagogue of the time who had the somewhat memorable name of William Shakespeare. By 1899, now 30 years old, he had returned to Chicago where he taught privately and served as soloist with various choral societies. Three years later, in September, 1902, he arrived in Morgantown to oversee WVU’s School of Music, which at that time reportedly had the largest enrollment of any of the University’s divisions. The School’s 1903-04 catalog informed readers that it “stands for high ideas and a training based upon a thor- ough education, to develop to the high- est stage of artistic capability all those possessing true musical talent, and to fit pupils for private and public teaching.” This and statements by Wrightson both in newspaper accounts and in personal correspondence make clear that his vision was founded upon the sacralized view of Proclamation granting Struass the Freedom of the City of Morgantown. (Richard Strauss Institut und Germanic art music actively cultivated Archiv

44 The Bulletin of the Society for American Music • Vol. XXX, No. 3 The Bulletin of the Society for American Music • Vol. XXX, No. 3 45 to the barriers it would be raising to the that on Monday, March 14, “All school terized as the greatest composer advancement of high culture, ordered the exercises will be suspended ...in honor of the present generation. He is largest of these establishments closed of Dr. Strauss, the guest not only of the a native of Germany and is only for selling liquor illegally. Wrightson University but of the whole city.” 38 years old [actually, 39]. His was beside himself. In a letter to George The University’s newly completed music is known for its intricacy Wilson, manager of the Orchestra, he Commencement Hall was the site for all and its pronounced individuality. wrote, “Can you imagine my feelings. I the festivities, beginning at 10:30 a.m. It probably resembles Wagner’s am doing all I am for the town, and no on March 14 with formal welcoming more than that of any other one but one or two appreciate it.” And ceremonies. Strauss was escorted to the composer. The world of music apparently, neither of those two allegedly podium by a welcoming committee of is divided into two very distinct appreciative individuals had been empan- six senior faculty between lines of the classes on the question of its mer- eled on that grand jury. University’s Corps of Cadets (the fore- its–those who praise it without The orchestra’s contract was rene- runner to the ROTC units of today) who stint and those who condemn it gotiated so that, in exchange for an had presented arms. One commentator without reservation. This is about additional $103.50, the orchestra assumed suggested that Strauss would find this the highest testimonial of genius responsibility for meals and lodging. appealing as it would have been reminis- that could be given. Complicating matters was evidence cent of the military ceremonies of Kaiser that ticket sales were slow. An editorial Wilhelm’s Germany. Wrightson’s public relations cam- appeared in The Athenæum of February Formal remarks were made by paign continued throughout the year. 25 decrying the “inexplicable apathy the Honorable George Sturgiss of the Announcements of recitals and concerts to the appearance of Richard Strauss in University’s Board of Regents and by the School of Music’s faculty were Morgantown on March 14.” by the Mayor of Morgantown, W.C. accompanied by reminders of the impend- Wrightson redoubled his efforts at McGrew. Following the Mayor’s oratory, ing visit. On various occasions, notices promotion. In The Athenæum, he drew Strauss was granted the freedom of the would appear in The Athenæum and else- attention to an article on Strauss accom- city as recorded in a formal proclama- where of the publication of articles con- panied by a photo of the composer in tion and a crystal glass key. While this cerning Strauss in nationally-circulating Scribner’s Magazine, an excerpt from a was being read, Strauss was provided periodicals—outside reading, as it were, review of a Strauss concert in the Boston with a German translation of the text, for any who might be interested. Evening Transcript describing the com- courtesy of Wrightson. Both the origi- During the 1903-04 academic year poser as “a world’s genius in the very nal document, with its yellow lettering there were five recitals by faculty and morning glow of his greatness,” as well as on blue silk, and the translation (on visiting artists prior to the “biggest musi- a statement attributed to Strauss that this University stationary) are preserved in cal event.” The last of these was a perfor- tour “will positively be his only profes- the Richard Strauss Institut und Archiv mance of Mendelssohn’s “Saint Paul” by sional visit in America.” Wrightson went in Garmisch-Partenkirchen, Bavaria. the University Choir under Wrightson’s on to say that “this is a great opportu- Aided by this text, Strauss made a brief direction. Given all of this activity, one nity and should not be lost.” An editorial reply in German, subsequently translated might infer that in Wrightson’s scheme appeared in the Morgantown Weekly Post by Henry Wolfsohn, the tour manager, in Strauss would have simply been the first on March 3, calling upon the business which he said that he was gratified by his of a steady stream of the world’s leading community to help defray the costs now welcome and apologized for his inability composers, conductors, and performers to totaling $3,000.00 for the concerts. to speak English. He concluded by say- make a pilgrimage to the new American Three dollars for a ticket and ing, “I feel I am not worthy of so great an Parnassus of Music: West Virginia $3,000.00 for the entire performance may honor.” University. seem comparatively small sums in 2004. The afternoon recital of sixteen During February, 1904, activity While such things are difficult to calcu- of his Lieder was presented to a large picked up. Advertising was drafted and late precisely, I have recently encountered audience in Commencement Hall. Not the program laid out. Reserved seats went research suggesting that to understand the limited to students, faculty, and members on sale. The City Council and Mayor purchasing power of the dollar a century of the Morgantown community, the audi- voted to grant Strauss the freedom of the ago, one should multiply any figures of ence also included those who had trav- city to be documented both by a formal that time by the number seventeen. Thus eled from other communities on trains proclamation and by a crystal key to the to purchase a ticket to the Strauss con- Wrightson chartered for the occasion. city to be inscribed “Dr. Richard Strauss, cert would in fact cost $51.00 today; the All were reportedly quite enthusiastic. Morgantown, West Virginia, March 14, price of the entire event would thus be The Washington reporter for The Musical 1904.” $51,000.00. Courier wrote of Pauline’s performance, Then disaster struck. In fulfilling his Wrightson’s campaign began to “The little lady quickly accomplished the part of the contract with the Pittsburgh pay off early in March. By the 10th, conquest...by her clever dramatic delinea- Orchestra, Wrightson had reserved rooms The Athenænum noted that tickets were tions, good diction, effective voice, win- in three hotels to house the musicians. The going quickly and informed readers ning manner, and picturesque costume in Monongalia Grand Jury, clearly oblivious

46 The Bulletin of the Society for American Music • Vol. XXX, No. 3 The Bulletin of the Society for American Music • Vol. XXX, No. 3 47 German traditional lines.” unusual endeavor. Such a person southern Bavarian town of Garmisch- The evening concert had an even is Sidney Lloyd Wrightson, who Partenkirchen where the Strausses had greater attendance. For their three dol- has practically raised the plane resided for more than two decades lars, audience members heard a program of music in this section of the the first units of the American army extraordinary for its length and revealing country a decade in a couple arrived. Directing the initial occupation in its purpose. It began with Beethoven’s of years. was Lieutenant Alfred Mann, native of Seventh Symphony which was followed In a quiet moment probably after lunch on Hamburg, graduate of the Curtis Institute by Wagner’s “Träume, A Study for Tristan March 14, Strauss completed a letter to of Music in Philadelphia and, after the und Isolde,” for solo violin and orchestra, his parents in Germany that Pauline had war, Columbia University, and subse- and the Prelude to Act III of Lohengrin, begun the day before: quently one of this nation’s distinguished all conducted by Herbert. Then Strauss historical musicologists. mounted the podium to conduct Till Since Pauline began this letter While Mann and his squad were Eulenspiegel and, following intermission, in Pittsburgh, we have been establishing control of the town’s Tod und Verklärung. The evening con- since last night in the small city government, Lieutenant Milton Weiss cluded with Herbert conducting Wagner’s of Morgantown, West Virginia, and a platoon of soldiers set about the Overture to Tannhauser. which has 10,000 citizens and task of finding residences for the officers It is my belief that for Wrightson, a University situated on a high and troops. Needless to say, the Strauss’s this program encapsulated the important hill, resembling Jena somewhat. villa attracted their attention. When Weiss developments of the entire nineteenth ... We are residing high on the and his squad approached its entrance, century in European art music. For him, hill at the home of the music the composer came out to greet them, Beethoven established the direction and director Wrightson, who has saying in heavily accented English, “I am the creative agenda for Germanic music produced a great honor for me. Richard Strauss, composer of Salomé and as exemplified in his Seventh Symphony. At 11:30, I was given the free- Der Rosenkavalier.” Weiss knew of this Beethoven’s inspiration would encourage dom of the city in the great hall music and quickly concluded that there Richard Wagner to break new expres- of the University at the order of were good reasons not to evict Strauss sive ground in his operas. Strauss was the governor through the mayor and his family. Strauss’s reputation and presumably Wagner’s principal heir. For as the spokesman for the citizens his great age was sufficient to prevent his Wrightson, his genius was advancing this of the city. He presented me with family’s removal from its home. Weiss great tradition into the twentieth century. a large proclamation and a crys- ordered that the villa be placed off limits The concert concluded with the tak- tal honorary sword; then two to the American forces occupying the ing of the photograph shown on the first speeches were made to me to town. page. During this event, the governor of which I responded. The militia Strauss invited the soldiers and officers the state arrived and was greeted by all was paraded and welcomed me into his home for some refreshment. For with enthusiastic applause. Sidney Lloyd with music from the University’s reasons I do not fully understand, he did Wrightson, it would appear, had indeed tower, etc. In short, everything something else as well, quite possibly pulled off “the biggest musical event in was very pleasant. This after- to affirm Weiss’s conclusion that he West Virginia.” noon Pauline’s recital. Tonight, deserved special consideration: Strauss Two sources provide us with some the orchestra concert. showed the Americans the proclamation insight into Strauss’s public reaction to I cannot account for his describing presented to him in Morgantown. Morgantown and to the University. In The the crystal key as a sword nor explain the At some point on that same day, Musical Courier, he was quoted as say- source of the music from the University’s Alfred Mann met the composer. Strauss, ing: tower, presumably the one at Stewart Hall learning that Mann was a musician and Morgantown has immense since that would have been adjacent to scholar and thus fully acquainted with enthusiasm, a sincere desire Commencement Hall. the his achievements, felt no need to per- toward music, and an intel- On March 15, the orchestra and suade him of his reputation in America. ligent comprehension as to the Herbert returned to Pittsburgh, and the Thus Mann has no memory of seeing the relation of music to life. It has, Strausses boarded a train to make their Proclamation. The composer and he had too, infinitely more money than way to New York where he would con- the first of numerous conversations about Bayreuth, the city in which duct the premiere what would be his music. Again, to quote from a recent let- Richard Wagner’s operas are last tone poem, the Sinfonia Domestica. ter, “the subject of [our] conversations performed, a beautiful location, Morgantown and the University returned was mostly his own recent works–and and a world of country about to life as usual. The evidence of Strauss’s Wagner. Touching was his remark when from which to draw sympathy visit to Morgantown was dispersed, save he played the Siegfried motive [from and audiences. But all this for the concert photograph, but another Wagner’s Ring cycle], ‘my father used to might not be without the rara benefit to Strauss of this visit was to play this beautifully’.” avis, the “leading spirit,” suited be demonstrated forty-one years after it Several days later, oboist John by various qualities of head and occurred. DeLancie, also in the Intelligence Corps heart and personality to promote On the last day of April, 1945, in the and on leave, asked Mann if he could

46 The Bulletin of the Society for American Music • Vol. XXX, No. 3 The Bulletin of the Society for American Music • Vol. XXX, No. 3 47 introduce him to Strauss. To quote Mann, which Wrightson had raised one quarter This is a story of what might have “Since I was at the Villa frequently, it was of the projected $100,000.00 cost. It was been, had personalities been different and easy: I called up, and we were invited to not built. Nor is there evidence that the had the University’s finances and vision tea.” Apparently, during that conversa- School’s enrollment continued to make of itself been different. While it is remark- tion, DeLancie asked Strauss if he was it the largest division of the University. able that Richard Strauss came to West considering writing something for oboe. In sum, one might be tempted to see this Virginia University, also remarkable is The composer’s initial reaction was event as a big splash in a small pond after how that visit enlarges our understanding decidedly negative, but, again, quoting which silence returned. of America’s cultural history and values at Mann, “A few days later, Strauss sent Yet instead of viewing the the turn of the twentieth century. me a postcard: ‘The visit of your friend visit retrospectively, if we look at it gave me the idea to write something for prospectively, that is, from a vantage oboe’.” That “something” turned out to point that places it at the conclusion of be Strauss’s Oboe Concerto. Mann later developments, the visit takes on a very received a page from Strauss’s first draft, different meaning. Wrightson’s musical which, along with that postcard, he later values were entirely consonant with * * * Opportunity to advertise * * * gave to DeLancie. those of the nation’s elite, the culturally It is remarkable to think his visit Eurocentric, primarily German or Anglo- SAM Conference Program to Morgantown that he had described Saxon Americans who funded, and thus Eugene, Oregon 2005 as “very pleasant” to his parents on shaped, the artistic institutions of the March 14, 1904, would have this curious nation’s major cities. His own professional Specifications and Rates for afterlife. One wonders what most of the training and prior experiences clearly Advertisements GI’s who were shown the Proclamation reflected aesthetic values shared by that thought. How many would have even cultural elite. Advertisements will be accepted for the known where Morgantown was? How By those standards and the expecta- Conference Program for the Society’s many would attached any significance to tions they implied for any leader of a 31st National Conference to be held in the composer’s receipt of this document? school of music who shared those values Eugene, Oregon. Print run will be 350 Precise answers to these questions may with a passion, Wrightson could (and copies. never be known. should) have done nothing other than SUBMISSION DEADLINE: The ultimate significance of the what he did by bringing the Strausses to January 10, 2005 events of March 14, 1904 can, I believe, be campus. This was the duty of a devout viewed from two perspectives. Obviously, believer in the inherent superiority of To reserve, call Mariana Whitmer Strauss’s visit demonstrated what might European art music. Although, as it turned (412) 624-3031 or E-mail: have been had financial resources out, his fund-raising efforts were well [email protected] been more plentiful and, perhaps, if ahead of their time for the University; circumstances at the University had been others had already concluded that only Mail to: Society for American Music, different. Its President, Daniel Purinton by private support would the institutions Stephen Foster Memorial, University of was culturally quite conservative, and a of sacralized European music endure in Pittsburgh, Pittsburgh, PA 15260. review of all available correspondence this country, be they schools of music, Tear sheets will be sent after publication. shows Wrightson to have required orchestras, or opera companies. In this “high maintenance.” He was demanding, effort, Wrightson was very much in the MECHANICAL SPECIFICATIONS apparently quite self-absorbed, and mainstream of American thought regard- AND PRICES determined to create a leading school of ing high culture. It was Purinton who was music for the nation in the mountain state out of step. Overall Page size: 8 3/8” high x 5 3/ without apparent regard for other interests Many Europens were touring the 8” wide. Photo-ready black and white or priorities. As a backdrop to these issues United States at this time. The market mechanical or Electronic files (PC for- of personality, the University was deeply was good for art music. Had Purinton mat only) required: in debt as a consequence of decisions approved, had funding been available, made by Purinton’s predecessor. perhaps not someone of Strauss’s stature Full page ad: 7 1⁄4” high x 4 1⁄2” wide Though no documents survive to but nevertheless distinguished performers last page: $75.00 account for the details, the simple fact could have retraced the composer’s route inside page: $50.00 is that at the end of the second year of to Morgantown again and again over the his leadership of the School of Music, subsequent decades, bringing perfor- ELECTRONIC FILES ENCOURAGED Wrightson and Purinton came to a part- mances of “music of the highest class,” Submit jpeg, gif, or PDF files ing of the ways. Wrightson resigned, as one commentator described it, to the in PC format to moved to Washington, D.C. and opened University. However, as things turned out, [email protected] his own music conservatory. There had the next prominent composer to visit the been talk of a new music building for University was Aaron Copland in 1970.

48 The Bulletin of the Society for American Music • Vol. XXX, No. 3 The Bulletin of the Society for American Music • Vol. XXX, No. 3 49 B ULLETIN B OARD

The Society is pleased to congratulate the University of Miami, Coral Gables, 20,335 people attended these events, Robert Stevenson of the Musicology Florida. and the average audience was 118. TCU Department at UCLA, who has won has previously won the NFMC award the Constantine Panunzio Award for Elaine Keillor, professor at the School in 1966, 1988, 1997, 1999, and 2002. Distinguished Emeriti. This is an annual for Studies in Art and Culture, Carleton award for scholars who have maintained University, Ottawa, Canada, was recently We are pleased to announce a new col- the highest standards of research quality named the 2004 recipient of the Helmut laboration. The Society has just received and productivity in the years following Kallmann Award for Distinguished a consultation grant from the National their retirement. It is a system-wide Service relating to music libraries and Endowment for the Humanities to explore honor, whereby each of the nine UC archives, for outstanding contributions the possibility of producing a one-hour campuses puts forward a finalist for the in documenting and improving access to radio documentary about musician and last round of the competition. Professor resources in Canadian music. As Chair of comic legend Bert Williams. Elizabeth Stevenson has continued his extraor- the Canadian Musical Heritage Society, Yates McNamee, SAM member and dinary activities as the eminence grise she guided to completion the publication independent radio producer, will direct of musicology of the Hispanic world, of 25 volumes of Canadian music written the project. This will be the second ven- a field he virtually founded fifty years before 1950. Over the past decade she ture into radio for the Society. Last year ago. This award celebrates the fact that has been the pianist on ten CDs almost Elizabeth produced a documentary about his energy, influence, and productiv- exclusively devoted to Canadian music. popular music in California, 1890-1910, ity have continued unabated throughout She is the editor of the first two volumes with the participation of SAM members the fifteen years since his retirement. in a new series published by Clifford Ford Dale Cockrell, Catherine Parsons Smith, Publications (http://cliffordfordpublicat Katherine Preston and Steven Baur. ions.ca) called Performing Our Musical Elizabeth also recently produced a fea- Members in the News Heritage. ture story for National Public Radio on Williams (http://www.npr.org/features/ Nadine Hubbs is delighted to announce The National Federation of Music Clubs feature.php?wfId=3890469), which fea- that her book is now available online. has given its 2004 First Place award tured the release of a new CD of his earli- The Queer Composition of America’s for “The Promotion and Performance est recordings on Archeophone Records Sound: Gay Modernists, American of American Music” to Texas Christian (www.archeophone.com). A special ses- Music, and National Identity is on dis- University¹s School of Music, reports sion is planned for the upcoming Eugene play at the University of California Michael Meckna. The award, which conference. Look for it in the upcoming Press web site and can be advance- comes with a $500 cash prize, com- Conference Announcement. ordered there: http://www.ucpress.edu/ mends the School for its annual American books/pages/10228.html Music Month (November) celebration, Jean Snyder was interviewed for a BBC 27th Annual Jazz Festival, and the host- broadcast, entitlted “Dvorak in America” on Elise Kirk spoke recently in the White ing of a variety of regional and national its program, “Music Review”. The interview House at the invitation of Laura Bush conferences. During the period covered took place at St. Geroge’s Episcopal Church on the subject of her ASCAP-Awarding by the award (June 2003 to May 2004), in New York City, where Harry T. Burleigh sang for over 50 years. winning book, Music at the White House. TCU musicians gave a total of 311 per- The event celebrated the production of formances of works by 192 American the DVD/video, “The White House: In composers on 172 programs. Five percent Larry Worster spent two weeks as a Tune with History,” that was inspired of the programs were “all-American,” and guest lecturer at the Sommerakademie by her book and televised nationally on at least one American work was heard on Kloster Seeon 2004, a project of the PBS. Kirk’s recent publications include over 50% of the programs. Forty-eight Junge Munchner Philharmonie. The acad- articles in Opera News, African-American composers were present for performances emy featured the chamber and orchestral Biography (Harvard and Oxford), The of their music, and 34 works were given works of American composer Cecil Cambridge Handbook of Twentieth their premieres. In addition to concerts Effinger, several of which had never been Century Opera (forthcoming), and White and recitals, 16 visiting artists and lectur- performed in Europe before. Young artists House History (“A New Look at the John ers participated in seminars, workshops, from 20 countries participated in the event, F. Kennedys and the Arts”). In the fall, or master classes which focused on which culminated in a performance at the Elise Kirk will present lectures on her American music. Various School of Music Konzerthaus in Berlin. A complete report books, Musical Highlights from the White faculty members also published two CDs will be included in the winter Bulletin. House and American Opera as part of the and one book. Discounting a considerable Stamps Distinguished Visitor Series at radio and tour audience, approximately

48 The Bulletin of the Society for American Music • Vol. XXX, No. 3 The Bulletin of the Society for American Music • Vol. XXX, No. 3 49 S OME R ECENT A RTICLES AND R EVIEWS (July-Aug 03): Marilyn Tucker, “Other Raymond R. Wile, “The North American — Joice Waterhouse Gibson, University of Minds [concert of music by living com- Phonograph Company: Part I (1888- Colorado at Boulder posers],” 10. (Sept-Oct 03): Herman 1892),” 1; Tim Brooks, “George W. Trotter, “Lukas Foss at 80,” 33. (July- Johnson: The First African-American Aug 04): “All About Ives: The Juilliard Recording Star,” 37; Carl Rahkonen, “An ACTA MUSICOLOGICA School’s Focus on Charles Ives,” 16. Essential Resource of American Folk (1/2003): Sally Bick, “Political Ironies: Music: The Samuel Bayard Collection at Hanns Eisler in Hollywood and Behind AMERICAN STRING TEACHER the Pennsylvania State University,” 90. the Iron Curtain,” 65. (1/2004): Leonardo (Nov 03): Steven Kruse, Penny Thompson Waisman, “La música colonial en la Kruse, “Remembering Joseph and Lillian BASS WORLD Iberoamérica neo-colonial,” 117. Fuchs [Amer. string virtuosi],” 58. (27/1): Andrew Kohn, “A List of Compositions by Women for the Double AMERICAN MUSIC RESEARCH ARCHIV FÜR Bass [incl. Amer. composers],” 23. CENTER JOURNAL MUSIKWISSENSCHAFT (12/2002): Marianne Betz, “American (60/2: Felix Meyer, “Adaptation— BBC MUSIC MAGAZINE Women as Operatic Characters: Puccini’s Transformation—Rekomposition. Zu (May 04): Jan Smaczny, “Antonín Dvořák Fanciulla del West Versus Chadwick’s einigen Liedbearbeitungen von Charles [incl. American influences],” 44. Marietta in The Padrone,” 1; Charles Ives,” 115. Kinzer, “ ‘Just a Little While to Stay BLACK MUSIC RESEARCH Here’: Louis Armstrong and the Brass ASIAN MUSIC JOURNAL Bands of New Orleans,” 11; Brian Locke, (34/2): Rev. of E. Taylor Atkins, Blue (21/2): Entire issue: Samuel Coleridge- “ ‘The Periphery is Singing Hit Songs’: Nippon: Authenticating Jazz in Japan, Taylor; Doris Evans McGinty, “ ‘That The Globalization of American Jazz and by Richard Miller, 126; rev. of Sunaina You Came So Far to See Us’: Coleridge- the Interwar Czech Avant-Garde,” 25; Marr Maira, Desis in the House: Indian Taylor in America,” 197. (22/supp): Karl Kroeger, “Leonard Marshall and American Youth Culture in New York City, Lawrence Gushee, “New Orleans-Area Early American Psalmody,” 57; William by Peter Kvetko, 130. Musicians on the West Coast, 1908-1925,” Kearns, Cassandra Volpe, “Normand 5; Bruce Tucker, “ ‘Tell Tchaikovsky the Lockwood: An Active Final Decade,” ASSOCIATION FOR RECORDED News’: Postmodernism, Popular Culture, 73; Kay Norton, “Normand Lockwood: SOUND COLLECTIONS JOURNAL and the Emergence of Rock ‘n’ Roll,” A Singular Composer’s Life,” 93; rev. of (Spr 03): Rev. of Chris Sheridan, 23; Samuel A. Floyd, Jr., “Ring Shout! Victoria Lindsay Levine, Writing American Brilliant Corners: a Bio-Discography of Literary Studies, Historical Studies, Indian Music, Historic Transcriptions, Thelonius Monk, by Robert Iannapollo, and Black Music Inquiry,” 49; Gary Notations, and Arrangements, by Brenda 60; rev. of E. Taylor Atkins, Blue Tomlinson, “Cultural Dialogics and Jazz: Romero, 99; rev. of John Metz, Barbara Nippon: Authenticating Jazz in Japan, A White Historian Signifies,” 71; Carol J. Bailey-Metz, eds., Rayner Taylor: by Robert Iannapollo, 64; rev. of Patsy Oja, “ ‘New Music’ and the ‘New Negro’: Chamber Music, by Joanne Swenson- Montana with Jane Frost, Patsy Montana: The Background of William Grant Still’s Eldridge, 103. (13/2003): Catherine The Cowboy’s Sweetheart, by Ronald Afro-American Symphony,” 107; Mark Parsons Smith, “ ‘Glory is a Passing Koltnow, 66; rev. of Alyn Shipton, Fats Tucker, “The Genesis of Black, Brown, Thing’: William Grant Still and Langston Waller: The Cheerful Little Earful, by and Beige,” 131; Lawrence Gushee, “The Hughes Collaborate on Troubled Island,” Paul S. Machlin, 67; rev. of Charlene B. Nineteenth-Century Origins of Jazz,” 5; Tammy L, Kernodle, “ ‘Sons of Africa, Regester, Black Entertainers in African 151; Peter Narváez, “The Influences of Come Forth’: Compositional Approaches American Newspaper Articles, Volume Hispanic Music Cultures on African- of William Grant Still in the Opera I, by Bob Arnold, 71; rev. of William R. American Blues Musicians,” 175; Troubled Island,” 25; Gayle Murchison, Bauer, Open the Door: the Life and Music Lawrence Kramer, “Powers of Blackness: “Was Troubled Island Seen by the Critics of Betty Carter, by Robert Iannapollo, Africanist Discourse in Modern Concert as a Protest Opera?” 37; Wayne Shirley, 75. (Fall 03): Rev. of Don Rayno, Paul Music,” 197. “Two Aspects of Troubled Island,” 61; Whiteman, a Pioneer in American Music, Earnest Lamb, “An African-American Vol. 1: 1890-1930, by Jim Farrington, BLUES REVUE Triptych,” 65; Horace J. Maxile, Jr., 217; rev. of Danny O. Crew, Ku Klux Klan (Oct/Nov 03): [Congress declared 2003 “Reverent References: African American Sheet Music, An Illustrated Catalogue of the Year of the Blues; PBS airs Scorsese’s Cultural Topics in William Grant Still’s Published Music, 1867-2002, 219; rev. film series]; Bill Vitka, “Feel Like Going Symphonic ‘Prayer’,” 91. of Jonathan Sterne, The Audible Past, Home: Martin Scorsese Taps the Blues’ Cultural Origins of Sound Reproduction, Root,” 9. AMERICAN RECORD GUIDE by Timothy C. Fabrizio, 225. (Spr 04):

50 The Bulletin of the Society for American Music • Vol. XXX, No. 3 The Bulletin of the Society for American Music • Vol. XXX, No. 3 51 S OME R ECENT A RTICLES AND R EVIEWS ( CONT ’ D ) BRITISH JOURNAL OF MUSIC and Miles,” 13; Jeffrey Magee, “ ‘King EDUCATION CHAMBER MUSIC Porter Stomp’ and the Jazz Tradition,” (July 04): Colin Symes, “A Sound (June 03): Kyle Gann, “American 22; Dan Skea, “Rudy Van Gelder in Education: The Gramophone and the Composer: Jerome Kitzke,” 44. (Aug Hackensack: Defining the Jazz Sound Classroom in the United Kingdom and 03): Steve Smith, “The Education of in the 1950s,” 54; Jeffrey Taylor, “Earl the United States, 1920-1940,” 163. Ned Rorem,” 62; Kyle Gann, “American Hines and ‘Rosetta’,” 77; George E. Composer: Rain Worthington,” 18. (Dec Lewis, “Experimental Music in Black CADENCE 03): Kyle Gann, “American Composer: and White: The AACM in New York, (July 03): Rev. of Andrew Clark, ed., Riffs Judith Lang Zaimont,” 38; Gene Santoro, 1970-1985,” 100; Jeffrey S. McMillan, & Choruses: A New Jazz Anthology, by “Jazzin’ Around: Vijay Iyer,” 50. “A Musical Education: Lee Morgan and Larry Nai, 18; rev. of Peter J. Levinson, the Philadelphia Jazz Scene of the 1950s,” September in the Rain: The Life of Nelson CHORAL JOURNAL 158; T.M. Scruggs, “ ‘Come on in North Riddle, by Larry Nai, 18. (Aug 03): Revs. (Aug 03): Kathy Romey, “Music Side, You’re Just in Time’: Musical- of Lynn Abbott, Doug Seroff, Out of Sight: Down In My Soul: An Interview with Verbal Performance and the Negotiation The Rise of African American Popular Moses Hogan,” 19. (Nov 03): Alfred of Ethnically Segregated Social Space,” Music, 1889-1995; James L. Dickerson, S. Townsend, “Perspectives on John 179; David Chevan, “Musical Literacy Just a Thrill: Lil Hardin Armstrong, the Corigliano’s A Dylan Thomas Trilogy,” and Jazz Musicians in the 1910s and First Lady of Jazz; Fred Wesley Jr., Hit 29. (Aug 04): Thomas Lloyd, “ ‘Shout All 1920s,” 200; Ben Givan, “Discontinuity Me, Fred: Recollections of a Sideman, all Over God’s Heaven’: How the African in the Music of Django Reinhardt,” 232; by David Dupont, 19. American Spiritual Has Maintained Keith Waters, “Outside Forces: ‘Autumn Its Integrity in the Face of Social and Leaves’ in the 1960s,” 276; William R. CANADIAN FOLK MUSIC BULLETIN Musical Challenges,” 9. Bauer, “Scat Singing: A Timbral and (Spr 03): [author unk], “Before Phonemic Analysis,” 303; Matthew W. Newfoundland: Maud Karpeles in CLASSIC RECORD COLLECTOR Butterfield, “Music Analysis and the Canada,” 1. (Sum 03): Anna Kearney (Sum 03): Mortimer H. Frank, “Copyright Social Life of Jazz Recordings,” 324; Giugné, “An Operative Model and Its Wrongs,” 51. Scott DeVeaux, “Struggling with Jazz,” for Analyzing Kenneth Peacock’s 353; Sherrie Tucker, “Big Ears: Listening Newfoundland Song Collection,” 1; rev. CLASSICAL GUITAR for Gender in Jazz Studies,” 375; of Georges Arsenault, Acadian Legends, (Sept 03): Tim Panting, “Twenty Years Christopher Washburne, “Latin Jazz: The Folktales, and Songs from Prince Edward of the Latin American and Caribbean Other Jazz,” 409; rev. essay of Graham Island, by Robert Rodriguez, 16. (Fall 03): Cultural Society,” 36. Lock, Blutopia: Visions of the Future and Pauline Greenhill, “Radical? Feminist? Revisions of the Past in the Work of Sun Nationalist? The Canadian Paradox CLASSICAL SINGER Ra, Duke Ellington, and Anthony Braxton, of Edith Fowke,” 1; rev. of Ronald C. (Nov 03): Lourin Plant, “Spirituals: by Paul Allen Anderson, 427; rev. essay Cohen, Rainbow Quest: The Folk Music Whose Songs Are They? And Why Aren’t of John Kurth, Bright Moments: The Life Revival & American Society, 1940-1970, We Singing Them?” 40. and Legacy of Rahsaan Roland Kirk, by David Gregory, 18. Gene Santoro, Myself When I Am Real: CLAVIER The Life and Music of Charles Mingus, CANADIAN UNIVERSITY MUSIC (Oct 03): Jane Solose, “Imaginative Eric Nisenson, Open Sky: Sonny Rollins REVIEW Sounds in Many Piano Pieces of Barbara and His World of Improvisation, Nick (22/2, 02): William Echard, “Expecting Pentland [Canadian composer],” 24. (Nov Catalano, Clifford Brown: The Life and Art Surprise Again: Neil Young and the 03): Danny Rocks, “History, Evolution, of the Legendary Jazz Trumpeter, Linda Dialogic Theory of Genre,” 30; Janette Changes in the U.S. Copyright Law for Dahl, Morning Glory: A Biography of Tilley, “Representations of Gender in Teachers and Students,” 24. Mary Lou Williams, Safford Chamberlain, Barbara Pentland’s Disasters of the Sun,” An Unsung Cat: The Life and Music of 77; Karen Pegley, “Multiculturalism, CONTRIBUTIONS TO MUSIC Wayne Marsh, all by Evan Spring, 446; Diversity and Containment on Much EDUCATION rev. essay of Horace Tapscott, Songs of Music (Canada) and MTV (US),” 93; rev. (31/1 04): Phillip M. Hash, “Philip Cady the Unsung: The Musical and Social of Judith Tick, Ruth Crawford Seeger: A Hayden and the Formation of Music Journey of Horace Tapscott, and Bill Composer’s Search for American Music, Educators National Conference,” 49. Kirchner, ed., The Oxford Companion to by Austin Clarkson, 127; rev. of Georgina Jazz, all by Vijay Iyer; rev. of Eric Porter, Born, David Hesmondhalg, eds., Western CURRENT MUSICOLOGY What Is This Thing Called Jazz?: African Music and Its Others: Difference, (Spr 01-Spr 02): Special issue: Jazz American Musicians as Artists, Critics, Representation, and Appropriation in Studies. Travis A. Jackson, “Mark Tucker and Activists, by Krin Gabbard, 477; rev. Music, by Ellen Waterman, 135. (1954-2000),” 9; Mark Tucker, “Porgy of Phil Pastras, Dead Man Blues: Jelly

50 The Bulletin of the Society for American Music • Vol. XXX, No. 3 The Bulletin of the Society for American Music • Vol. XXX, No. 3 51 S OME R ECENT A RTICLES AND R EVIEWS ( CONT ’ D ) Roll Morton Way Out West, by Kathy J. Cathy Ragland, 255; rev. of Jeff Todd “Brooklyn’s Jazz Renaissance,” 4; Kevin Ogren, 484; rev. of Alyn Shipton, A New Titon, Old-Time Kentucky Fiddle Tunes, Miller, “Bolly’hood Re-mix,” 6; Melissa History of Jazz, by Frank Tirro, 491; rev. by Chris Goertzen, 261; rev. of Dale Olsen de Graaf, “Intersection of Gender and of Rob van der Bliek, ed., The Thelonius and Daniel Sheehy, eds., The Garland Modernism in the Music of Johanna Monk Reader, by Brian Priestley, 500; rev. Encyclopedia of World Music: Volume Beyer,” 8; Anton Vishio, “Cage and of Richard M. Sudhalter, Lost Chords: 2, South American, Mexico, Central Carter on DVD,” 11. White Musicians and Their Contribution America, and the Caribbean, by Helen to Jazz, 1915-1945, by David Sager, 509; Myers, 263. (Fall 03): Cathy Ragland, THE INSTRUMENTALIST rev. of Uta G. Poiger, Jazz, Rock, and “Mexican Deejays and the Transnational (Sept 03): Ronald Demkee, “The Rebels: Cold War Politics and American Space of Youth Dances in New York and Allentown Band [Sousa] Celebrates 175 Culture in a Divided Germany, by Jeffrey New Jersey,” 338; rev. of Barry Kernfeld, Years of Lively Music,” 52. H. Jackson, 518; rev. of Andrew F. ed., The New Grove Dictionary of Jazz, Jones, Yellow Music: Media Culture and second ed., by Alexander Steward, 376; INTERNATIONAL ALLIANCE FOR Colonial Modernity in the Chinese Jazz rev. of Brenda F. Berrian, Awakening WOMEN IN MUSIC JOURNAL Age, by Dale Wilson, 524; rev. of E. Taylor Spaces: French Caribbean Popular (9/1 03): Jeannie Gayle Pool, “Zenobia Atkins, Blue Nippon: Authenticating Jazz Songs, Music, and Culture, by Jocelyne Powell Perry, An American Composer,” in Japan, by Ian Condry, 533. (Fall 02): Guilbault, 384; rev. of David Ake, Jazz 13. (10/1 04): Carolyn Waters Broe, David Carson Berry, “The Role of Adele Cultures, by Gabriel Solis, 392. (Win “Louise Lincoln Kerr (1892-1977): T. Katz in the Early Expansion of the 04): Burt Feintuch, “The Conditions for Composer, Performer and Patron,” New York ‘Schenker School’,” 103; rev. Cape Breton [Nova Scotia] Fiddle Music: 12; Peggy Karp, “Vivian Fine—A of Timothy D. Taylor, Strange Sounds: The Social and Economic Setting of a Reminiscence,” 18. Music, Technology, and Culture, by Regional Soundscape,” 73; Jennie M. Richard Kramer, 181. Smith, “Singing Back: The Chan Pwen INTERNATIONAL ASSOCIATION of Haiti,” 105; rev. of Ronald Radano and OF JAZZ RECORD COLLECTORS DIRTY LINEN Philip V. Bohlman, eds., Music and the JOURNAL (Oct/Nov 03): Annette C. Eshleman, Racial Imagination, by Kyra Gaunt, 127; (Win 02/03): Ron Sweetman, “Peggy Seeger: Homeward Bound,” 21. rev. of E. Taylor Atkins, Blue Nippon: “Recordings of the Piano Compositions (Feb/Mar 04): Stephen Winick, “What Authenticating Jazz in Japan, by Judith of Bix Beiderbecke,” 21. (Win 04): Child Is This?: Francis James Child’s Herd, 131. Floyd Levin, “Benny Carter: Tributes and Ballads in the Modern Age,” 29. Remembrances, 1907-2003,” 16. FILM SCORE MONTHLY DOUBLE BASSIST (Aug 03): Mark Griffin, “Better Than a INTERNATIONAL REVIEW OF (Winter 03): John Goldsby, “Bassists for Dream: An Interview with Legendary AESTHETICS AND SOCIOLOGY OF Miles [Davis],” 18. Songwriter Betty Comden,” 18. MUSIC (34/1): Johannes Eurich, “Sociological DULCIMER PLAYERS NEWS, THE FONTIS ARTIS MUSICAE Aspects and Ritual Similarities in the (Nov 03-Jan 04): Peter Irvine, “Folk (July-Sept 02): Rev. of Barry Kernfeld, Relationship Between Pop Music and Music, Copyright, and the Public ed., The New Grove Dictionary of Jazz, Religion,” 57. Domain,” 30. 2nd ed., by Brad Short, 199. INTERNATIONAL TRUMPET GUILD EARLY MUSIC AMERICA INDIANA THEORY REVIEW JOURNAL (Sum 04): Heidi Waleson, “Homespun (Spr 01): Stanley V. Kleppinger, “Metrical (Oct 03): Mark Flahertry, “The Life Harmonies: How Early Music Groups Issues in John Adams’s Short Ride in a and Music of Paul Wesley ‘Doc’ Evans Go About Exploring America’s Musical Fast Machine, 65; Brenda Ravenscroft, (1907-1977),” 47. (June 04): Julie Patton, Past,” 28; Anna Peekstok, “The Hurdy- “Finding the Time for Words: Elliott “A Tribute to Armando Ghitalla: A Survey Gurdy in America,” 32. Carter’s Solutions to the Challenges of His Influence on Trumpet Teachers in of Text-Setting,” 83. (Fall 01): Drew America and Canada Today,” 11. ETHNOMUSICOLOGY Massey, “Unifying Characteristics in (Spr/Sum 03): Rev. of Eric Zolov, Classic Ragtime,” 27. JAZZ EDUCATION JOURNAL Refried Elvis: The Rise of the Mexican (July 03): Alan Bergman, “Copyright Counterculture, by Peter J. Garcia, 254; INSTITUTE FOR STUDIES IN in the International Classroom and rev. of Manuel Peña, Música Tejana: AMERICAN MUSIC NEWSLETTER Marketplace,” 43. The Mexican American Orquesta: Music (Spr 04): Stephen Stuempfle, Culture and the Dialectic of Conflict, by “Documenting Calypso in New York JOURNAL OF AMERICAN and the Atlantic World,” 1; Robin Kelley, FOLKLORE 52 The Bulletin of the Society for American Music • Vol. XXX, No. 3 The Bulletin of the Society for American Music • Vol. XXX, No. 3 53 S OME R ECENT A RTICLES AND R EVIEWS ( CONT ’ D ) (Spr 03): Rev. of Mark Slobin, Fiddler The Camelot Years, 1959-1968,” und musikalisches Theater: Gesammelte on the Move: Exploring the Klezmer 143; Patrice Madura Ward-Steinman, Schriften, Elmar Juchem, Kurt Weill und World, by Sarah Quick, 234. (Win 04): “Musical Training and Compensation Maxwell Anderson: Neue Wege zu einem Rev. of Sw. Anand Prahlad, Reggae in the Big Band Era: A Case Study of amerikanischen Musiktheater, 1938-1950, Wisdom: Proverbs in Jamaican Music, Madura’s Danceland from 1930-1950,” Kurt Weill, Stephen Hinton, Edward by Stephen D. Winick, 106; rev. of John 164; rev. of Nicholas E. Tawa, From Harsh, eds., Die Dreigroschenoper, all by H. McDowell, Poetry and Violence: The Psalm to Symphony: A History of Music Christopher Hailey, 484. (Fall 03): Rev. Ballad Tradition of Mexico’s Costa Chica in New England, by William R. Lee, of Nicholas Temperley, w/ Charles G. [corrido], by Manuel Peña, 107. 201. (Oct 02): Juanita Karpf, “ ‘Would Manns and Joseph Herl, The Hymn Tune that it were so in America!’: William Index: A Census of English-Language JOURNAL OF ARTS MANAGEMENT, Bradbury’s Observations of European Hymn Tunes in Printed Sources from LAW, AND SOCIETY Music Educators, 1847-49,” 5; William 1535-1820, by Nym Cooke, 710; rev. (Spr 03): Joan Jeffri, “Jazz Musicians: R. Lee, “Charles H. Farnsworth’s ‘Music of David Nicholls, ed., The Cambridge The Cost of the Beat,” 40. Maria-Rosario in the Secondary School’,” 39; Beatriz History of American Music, by Judith Jackson, “Investing in Creativity: A Study Aguilar, Darhyl Ramsey, Barry Lumsden, Tick, 721; rev. of Carol J. Oja, Making of the Support Structure for U.S. Artists,” “The Aztec Empire and the Spanish Music Modern: New York in the 1920s, by 43. Missions: Early Music Education in Larry Starr, 734. (Spr 04): Charles Hiroshi North America,” 62; Sheila Feay-Shaw, Garrett, “Chinatown, Whose Chinatown? JOURNAL OF BAND RESEARCH “The Music of Mexican-Americans: A Defining America’s Borders with Musical (Fall 03): Bruce P. Gleason, “Horse- Historical Perspective of a Forgotten Orientalism,” 119; rev. of Nicholas Tawa, Mounted Military Musicians: An Culture in American Music Education,” High-Minded and Low-Down: Music in Overview,” 1; Donald Dean Ryder, 83. (Oct 03): Karen M. Bryan, “Radiating the Lives of Americans, 1800-1861, by “March Compositions of the Goldman a Hope: Mary Cardwell Dawson as Katherine Preston, 208; rev. of Michael T. Library,” 37. Educator and Activist,” 20; Terese M. Bertrand, Race, Rock, and Elvis, by David Volk, “Looking Back in Time: On Being Brackett, 215. JOURNAL OF COUNTRY MUSIC a Music Education Historian,” 49; rev. (23/2 03): Mark Medley, “The Truth Is of James W. Loewen, Lies My Teacher LIVING BLUES Out There [the Delmore Brothers, coun- Told Me: Everything Your American (Apr 04): Special issue dedicated to try music history],” 4; Chuck Miller, History Textbook Got Wrong,” by Jere T. Mississippi blues [festivals, locations, “Almost Heaven: Wheeling in the Years: Humphreys, 60. The Story of a Jamboree in the Hills of birth/death places, pre-war, post-war, underground, etc.]. West Virginia,” 18. JOURNAL OF NEW MUSIC RESEARCH MUSIC ANALYSIS JOURNAL OF HISTORICAL (Sept 02): Howard Pollack, “Aaron (Mar-Jul 03): Adam Krims, “What Does It RESEARCH IN MUSIC EDUCATION Copland’s Short Symphony and the Mean to Analyse Popular Music?” 181. (Oct 01): Wilfried Gruhn, “European Challenge to Human Supervision and ‘Methods’ for American Nineteenth- Control in Music,” 201. (Dec 02): Kjetil MUSIC REFERENCE SERVICES Century Singing Instruction: A Cross- Falkenberg Hansen, “The Basics of QUARTERLY Cultural Perspective on Historical Scratching,” 357. Research,” 3; E. Christina Chang, “The (8/1 2001): Metro Voloshin, “The Appalachian Dulcimer: An Essay and Singing Program of World War I: The JOURNAL OF THE AMERICAN Bibliography,” 79; rev. of Patricia Trice, Crusade for a Singing Army,” 19; Bonnie MUSICOLOGICAL SOCIETY Choral Arrangements of the African- Schaffhauser Jacobi, “Music in Higher (Sum 03): Elizabeth B. Crist, “Aaron American Spirituals: Historical Overview Education for Females in Nineteenth- Copland and the Popular Front,” 409; rev. and Annotated Listings, by Robert Follet Century America,” 46; rev. of Roy of David Farneth w/ Elmar Juchem and and Timothy Woods, 89; rev. of Bill F. Newsome, Brass Roots: A Hundred Dave Stein, Kurt Weill: A Life in Pictures Fawcett, George Whitefield Chadwick: A Years of Brass Bands and Their Music, and Documents, Lys Symonette and Kim Bio-Bibliography, by Holly E. Mockovak, by Keith Preston, 74. (Apr 02): Rev. of H. Kowalke, trans., ed., Speak Low (When 91; rev. of Charley Gerard, Jazz in Black Richard Sudhalter, Lost Chords: White You Speak of Love): The Letters of Kurt and White: Race, Culture, and Identity in Musicians and Their Contributions to Weill and Lotte Lenya, Kurt Weill, Lys the Jazz Community, by John Voigt, 94. (8/ Jazz, 1915-1945, by Andrew Goodrich, Simonette and Elmar Juchem, eds., Briefe 2 2002): Robert Freeborn, “Confronting 162. (Apr 03): Paul D. Sanders, “Calvin an die Familie (1914-1950), Kurt Weill, the Dark Side of the Beat: A Guide to E. Stowe’s Contribution to American Nils Brosch, ed., Briefwechsel mit der Creating a Heavy Metal Music Collection Music Education,” 128; Delores R. Universal Edition, Kurt Weill, Stephen [basic musical concepts, history, major Gauthier, “The Arts and the Government: Hinton and Ju:rgen Schebera, eds., Musik

52 The Bulletin of the Society for American Music • Vol. XXX, No. 3 The Bulletin of the Society for American Music • Vol. XXX, No. 3 53 S OME R ECENT A RTICLES AND R EVIEWS ( CONT ’ D ) sub-genres],” 25; Metro Voloshin, “The of Sir Roland Hanna,” 7. Preservation and Storage of Historical 78 NOTES: QUARTERLY JOURNAL OF rpm Recorded Discs,” 39; John Brower, THE MUSIC LIBRARY ASSOC. POPULAR MUSIC “A Core Musical Theater Collection: (Mar 04): Rev. of Glenn Watkins, Proof (May 03): Cynthia Cyrus, “Selling an A Bibliography,” 45; rev. of Ken Through the Night: Music and the Great Image: Girl Groups of the 1960s,” 173; Bloom, American Song: The Complete War, by Simon Trezise, 658; rev. of Allan essay rev. of Murray Forman, The Hood Companion to Tin Pan Alley Song, by Moore, ed., Cambridge Companion to Comes First: Race, Space and Place in Ralph Hartsock, 87; rev. of William Blues and Gospel Music, by Tammy Rap and Hip-Hop, by Inez H. Templeton, Zinsser, Easy to Remember: The Great Kernodle, 673; rev. of Dale E. Hall, 241; rev. of Jason Toynbee, Making American Songwriters and Their Songs, The Honolulu Symphony: A Century Popular Music: Musicians, Creativity by Susannah Cleveland, 92; rev. of Roy of Music, by Gregg Geary, 694; rev. of and Institutions, by Mike Jones, 247; Shuker, Understanding Popular Music, Kristine H. Burns ed., Women and Music rev. of Ken Stephenson, What to Listen 2nd ed., by Rick Anderson, 98; rev. of in America Since 1900: An Encyclopedia, For in Rock: A Stylistic Analysis, by Mary Dupree, ed., Musical Americans: by Margaret Donelian Ericson, 703; rev. Allan Moore, 250; rev. of Stan Hawkins, A Bibliographical Dictionary, 1918-1926, of Frederick Crane, A History of the Setting the Pop Score: Pop Texts and by Phyllis Danner, 102. Tramp in Pictures: Europe and America, Identity Politics, by Sarah Hill, 251; rev. by Laurence Libin, 706. of Greg Dimitriadis, Performing Identity/ THE MUSICAL QUARTERLY Performing Culture: Hip-Hop as Test, (Spr 02): Dorothy Lamb Crawford, NUTIDA MUSIK Pedagogy, and Lived Practice, by Eithne “Arnold Schoenberg in Los Angeles,” (1/04): Johannes Bergmark, “Musik är ett Quinn, 253; rev. of Kai Fikentscher, 6; Philip Ford, “Somewhere/Nowhere: verb! Christopher Small och den musika- “You Better Work!” Underground Dance Hipness as an Aesthetic,” 49; Gabriel liska ritualens framtid,” 8. Music in New York City, by Stephen Solis, “Hearing Monk: History, Memory, Amico, 254. (Oct 03): Ulf Lindberg, and the Making of a ‘Jazz Giant’,” 82. THE OPERA QUARTERLY “Popular Moderism? The ‘Urban’ Style (Sum 02): Marc Rice, “Break ‘o Day (Spr 04): Jim McPherson, “Mr. Meek of Interwar Tin Pan Alley,” 283; Caroline Blues: The 1923 Recordings of the Goes to Washington: The Story of the O’Meara, “The Raincoats: Breaking Bennie Moten Orchestra,” 282; Amy C. Small-Potatoes Canadian Baritone Who Down Punk Rock’s Masculinities,” 299; Beal, “A Place to Ply Their Wares with Founded America’s ‘National’ Opera,” Ken McLeod, “Space Oddities: Aliens, Dignity: American Composer-Performers 197. Futurism and Meaning in Popular Music,” in West Germany, 1972,” 329. 337; David Horn, “Eileen Southern,” 378; ORGANISED SOUND rev. of Russell Reising, Every Sound MUSICAL TIMES (Apr 03): Elizabeth Hinkle-Turner, There Is: The Beatles ‘Revolver’ and (Sum 04): Arnold Whittall, “Uneasy “Women and Music Technology: the Transformation of Rock and Roll, Evaluatives: Perspectives on Babbitt,” 75; Pioneers, Precedents and Issues in the by Ian Inglis, 381; rev. of Kenneth J. Stephen Banfield, “In the Finest Tradition: United States,” 31. (Aug 03): Randal Bindas, Swing, That Modern Sound, by New Books on Musical Theatre,” 83. Davis, “ ‘...and what they do as they’re David Horn, 383; rev. of Mark Slobin, going...’: Sounding Space in the Work of ed., American Klezmer—Its Roots and NEUE ZEITSCHRIFT FÜR MUSIK Alvin Lucier,” 205. Offshoots, by Jonathan Walton, 385; (Mar-Apr 04): Hermann-Christoph rev. of David Hesmondhalgh and Keith Müller, “Auf der Grenze: Natur in PANPIPES Negus, Popular Music Studies, by Allan der amerikanischen Musik [Ives, (Win 04): Jeanette Drone, “Thomas Moore, 386; rev. of Cheryl L. Keyes, Rap Cage, Lucier, La Monte Young],” 38; Wright ‘Fats’ Waller: The ‘Harmful Little Music and Street Consciousness, by Janis Wolfgang Rathert, “Reale und imaginäre Armful’ - ‘The Cheerful Little Earful’,” McNair, 390. Landschaften: Charles Ives’ musikalische 4. Exkursionen und ihre Folgen,” 42. (May- POPULAR MUSIC AND SOCIETY June 04): Andreas Wagner, “Luigi Nono PERSPECTIVES OF NEW MUSIC (Feb 03): Kristen Schilt, “ ‘A Little Too - John Cage: keine In-Eins-Setzung,” 42; (Win 04): Leslie Blasius, “Late [Morton] Ironic’: The Appropriation and Packaging Chrisoph Wagner, “Das Abstrakte und das Feldman and the Remnants of Virtuosity,” of Riot Grrrl Politics by Mainstream Konkrete: Ein Gespräch mit Elliott Sharp 33. Female Musicians,” 5; Dafna Lemish, über den Blues und die Avantgarde,” 54. “Spice World: Constructing Femininity PIANO TODAY the Popular Way,” 17; Fumiko Takasugi, 19TH CENTURY MUSIC (Win 04): Scott DeVeaux, “Thelonius “The Development of Underground (Spr 04): Matthew McDonald, “Silent Monk & Popular Song,” 6; Tom Roberts, Musicians in a Honolulu Scene, 1995- Narration? Elements of Narrative in Ives’s “Willie ‘The Lion’ Smith & Tango a la 1997,” 73. (June 03): Melanie Lowe, The Unanswered Question,” 263. Caprice,” 6; Stuart Isacoff, “The Legacy “Colliding Feminisms: Britney Spears,

54 The Bulletin of the Society for American Music • Vol. XXX, No. 3 The Bulletin of the Society for American Music • Vol. XXX, No. 3 55 S OME R ECENT A RTICLES AND R EVIEWS ( CONT ’ D ) ‘Tweens,’ and the Politics of Reception,” Cultural System, and J. Toynbee, Making TEMPO 123; Steve Bailey, “Faithful or Foolish: Popular Music: Musicians, Creativity and (Jul 02): Julian Anderson, “Harmonic The Emergence of the ‘Ironic Cover Institutions, by Fred Seddon, 224. (July Practices in Oliver Knussen’s Music Album’ and Rock Culture,” 141; Mike 04): Special issue on mapping music edu- Since 1988: Part I,” 2. (Jan 03): Julian Daley, “ ‘Why Do Whites Sing Black?’: cation research; Harry E. Price, “Mapping Anderson, “Harmonic Practices in Oliver The Blues, Whiteness and Early Histories Music Education Research in the USA: A Knussen’s Music Since 1988: Part II,” of Rock,” 161; Steven Hamelman, “But Is Response to the UK,” 322. 16; Maarten Beirens, “Archaeology of It Garbage? The Theme of Trash in Rock the Self: Michael Finnissy’s Folklore,” and Roll Criticism,” 203. (Oct 03): Mark F. RESEARCH MEMORANDUM SERIES 46. (Apr 03): Peter Dickinson, “Aaron DeWitt, “The Diatonic Button Accordion (No. 182): James G. Kantor, “Choral Copland in Interview,” 11; rev. of Nicholas in Ethnic Context: Idiom and Style in Websites: An Introductory Compilation.” Hopkins and John F. Link, Elliott Carter: Cajun Dance Music,” 305; Holly Everett, (No. 183): David P. DeVenney, “Recent Harmony Book, by David Schiff, 53; “ ‘The Association That I Have with This Researches in Choral Music, I: Books and rev. of Peter Dickinson, ed., Copland Guitar Is My Life’: The Guitar as Artifact Dissertations.” (No. 184): L. Brett Scott, Connotations: Studies and Interviews, and Symbol [history of guitar in North comp., “The Choral Music of R. Murray by Anthony Gritten, 57; rev. of Arthur America, Reuben Rivera],” 331; Roy C. Schafer.” Berger, Reflections of An American Brewer, “The Appearance of the Electric Composer, by Rodney Lister, 58; rev. Bass Guitar: A Rockabilly Perspective,” REVISTA DE MÚSICA of Robert Maycock, Glass: A Portrait, 351; Paula Lockheart, “A History of LATINOAMERICANA by Robert Stein, 61. (Apr 04): Edward Early Microphone Singing, 1925-1939: (Spr/Sum 04): Michael Largey, Pearsall, “Symmetry and Goal-Directed American Mainstream Popular Singing “Ethnographic Transcription and Music Motion in Music by Béla Bartók and at the Advent of Electronic Microphone Ideology in Haiti: The Music of Werner George Crumb,” 32; rev. of Vincent Katz, Amplification,” 367; B. Lee Cooper, A. Jaegerhuber,” 1; rev. of Steven Loza, ed., Black Mountain College: Experiment Patty Falk, and William L. Schurk, ed., Musical Cultures of Latin America: in Art, by Rodney Lister, 47. “Accordions, Banjos, Cornets...and Global Effects, Past and Present, by Juan Zithers: Sound Recordings Archives and Pablo González, 121. THE WORLD OF MUSIC Musical Instruments,” 387. (Dec 03): (1/2003): Ramona Holmes, “ ‘It’s a Girl Jason D. Haugen, “ ‘Unladylike Divas’: REVISTA MUSICAL CHILENA Bonding Thing’: Softball Set Cheers in Language, Gender, and Female Gangsta (Jan-June 04): Leonardo J. Waisman, the United States,” 119; Chris Goertzen, Rappers, 429; Kevin Holm-Hudson, “Alcances a Dos Estudios Sobre la “Galax, Virginia’s ‘Old Fiddlers’ “Apocalyptic Otherness: Black Music Música Española e Hispanoamericana de Convention’: The Virtues and Flaws of and Extraterrestrial Identity in the Music los Siglos XVII y XVIII,” 87. a Giant Fiddle Contest,” 133; Denis- of Magma,” 481; John C. Hajduk, “Tin Constant Martin, “Technology, and the Pan Alley on the March: Popular Music, REVUE MUSICALE Contradictions of Globalisation [review- World War II, and the Quest for a Great (Dec 03): Vincent Giroud, “Le essay incl. Andreas Gebesmair and War Song,” 497; Mark Duffett, “False Bicentenaire de Berlioz en Amérique,” Alfred Smudits, eds., Global Repertoires: Faith or False Comparison? A Critique of 54; Jean-Christophe Branger, “Les Popular Music Within and Beyond the Religious Interpretation of Elvis Fan Troyens á New York,” 55. the Transnational Music Industry, and Culture,” 513; rev. of Cameron McCarthy, SONUS Timothy D. Taylor, Strange Sounds: Blenn Hudak, Shawn Miklaucic, and (Fall 03): “America Is” Poetic Boundaries Music, Technology, and Culture],” Paula Saukko, eds., Sound Identities: IV; Mee-Eun Jeon, “Ralph Shapey’s 149. (2/2003): Rev. of Mark Slobin, Popular Music and the Cultural Politics ‘Unforgettable Moments’ in Evocation ed., American Klezmer: Its Roots and of Education, by Peter Dunbar-Hall, I, Movement 1,” 1. (Spr 04): “America Offshoots, by Lindsay Aitkenhead, 166. 557; rev. of John Einarson, Desperados: Is” Poetic Boundaries V; Renate Groth, “ (3/2003): Cheryl L. Keyes, “The Aesthetic The Roots of Country Rock, b S. Renee ‘Magic Mountain’—About the Concertos Significance of African American Sound Dechert, 562; rev. of Jay R. Howard of Elliott Carter,” 33. Culture and Its Impact on American and John M. Streck, Apostles of Rock: Popular Music Style and Industry,” 105. The Splintered World of Contemporary SYMPHONY Christian Music, by André J. M. Prévos, (Mar-Apr 04): Chester Lane, “Goin’ 564. Home [Dvořák’s American influenc- es],” 50. (May-June 04): Kyle Gann, “ The Editor gratefully acknowledges PSYCHOLOGY OF MUSIC ‘Conservative’ Praise: Saving Charles Joice’s hard work on this important feature (Apr 04): Rev. of H. Kingsbury, Music, Ives’s Symphonies from His Fans,” 13. of the Bulletin. Thank you! Talent and Performance: A Conservatory

54 The Bulletin of the Society for American Music • Vol. XXX, No. 3 The Bulletin of the Society for American Music • Vol. XXX, No. 3 55 AWARDS OF THE S OCIETY Irving Lowens Memorial Awards Student Travel Grants Further information is available at the The Irving Lowens Award is offered by Grants are available for student members website (www.american-music.org) or the Society for American Music each who wish to attend the annual confer- by contacting the SAM office. year for a book and article that, in the ence of the Society for American Music. judgment of the awards committee, These funds are intended to help with the H. Earle Johnson Bequest for Book makes an outstanding contribution to cost of travel. Students receiving funds Publication Subvention the study of American music or music in must be members of the Society and America. Self-nominations are accepted. enrolled at a college or university (with This fund is administered by the Book Application deadline is February 15th. the exception of doctoral students who Publications Committee and provides need not be formally enrolled). two subventions up to $2,500 annually. Application deadline is November 15th. Wiley Housewright Dissertation Award Mark Tucker Award Sight and Sound This award consists of a plaque and cash The Mark Tucker Award is presented award given annually for a dissertation at the Business Meeting of the annual This fund is administered by the Sight SAM conference to a student presenter and Sound Committee and provides that makes an outstanding contribution to American music studies. The Society for who has written an outstanding paper for annual subventions of approximately delivery at that conference. In addition $700-$900. American Music announces its annual competition for a dissertation on any to the recognition the student receives topic relating to American music. The before the Society, there is also a plaque dissertation must be in English, and must and a cash award. be completed between 1 January and 31 December. Application deadline is February 15th.

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