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

Vol. XXXII, No. 1 Winter 2006

SAM/CBMR Conference: Chicago, Illinois (Looks Mighty Good to Me)

— Mariana Whitmer

“I’ve lived in Pennsylvania and Portland, Music and Dance at Chicago’s fabulous Oregon, the SAM History Project session. In the state of Arizona, in Seattle, Millenium Park on Wednesday evening All conference attendees will be able to Washington (after the welcome reception), performing experience the CBMR sessions as well as I’ve had good times in Georgia, three world premieres. Howard Reich’s 2004 SAM’s. These include Black Music in Italy, And in good old New York State review of this ensemble included the follow- From Jump Street to MP3: Black Music I’ve lived in Dallas, Texas, ing remarks: “The very notion, in fact, that Pedagogy—Resources and Challenges of Seen Frisco’s Golden Gate any one ensemble could finesse modern the Twenty-First Century, International I’ve spent some time in Caroline, American jazz, 16th Century Portuguese Scholarship and Black Music, and And I love you Tennessee, motets and ancient Afro-Cuban chant Connecting the Dots: Diasporal Unities, But old Chicago, Illinois looks mighty good might seem preposterous. Yet...the New Triangular Research, and the CBMR/ to me! Black Music Repertory Ensemble dis- AMRI Rockefeller Resident Fellowship We are thrilled to be holding our 32nd patched these far-flung idioms, and oth- Program, among others. Annual Conference in Chicago and meeting ers, with a degree of authority and verve There are several wonderful lecture/ once again with the Center for Black Music that confounded expectations.” recitals on this year’s program, all of them Research! Muhal Richard Abrams, famed per- scheduled during the late morning (so you There are many reasons why Chicago former, composer, and co-founder of the leg- won’t have to skip lunch). Artis Wodehouse looks mighty good to us this year, not the endary Association for the Advancement of will be performing piano transcriptions of least of which is the program. Both organi- Creative Musicians (AACM), will be named Duke Ellington on Thursday. On Friday, zations have exciting programs planned for the Society’s Honorary member for 2006. In James Briscoe and Anna Yow Briscoe this combined conference. There will be a celebration of this honor, Abrams, along with will be presenting a program devoted special session in honor of Samuel A. Floyd, George Lewis, who was a student of Abrams to Tania León, a US composer of Afro- Jr., CBMR Founder and Director Emeritus, and who is a long-time AACM member, will Cuban descent who draws on African, present a free concert on Friday evening. who will also be giving the keynote address Cuban, jazz, and modernist idioms. James There will be several sessions featur- at a special SAM/CBMR Plenary Session. Briscoe explains that her music refers to In addition to the combined Plenary Session, ing Chicago’s history, such as Creating the Chicago Exposition, Marketing Music West African “power” drumming, stride there will be three joint sessions at the piano, blues, and Afro-Cuban dance; she conference: “Large as She Can Make It” for Chicago, Cultural Identity in Chicago Exposition, and (of course) Sweet Home describes herself as “neither American Remix: Black Women’s Activism Through nor Cuban, nor European…but of being Music, The Legacy of Harry T. Burleigh Chicago. Be prepared for some lively dis- earthian.” Rob Haskins will present a (followed by a Burleigh sing-along), and cussions at the panel on Nineteenth-Century lecture recital on Saturday intriguingly As Banjo Songs Became the Blues, featuring Scholarship in American Music Studies (see SAM Honorary Member Mike Seeger, and the Standpoint section in the Fall Bulletin, titled “Reconciling Western Sense and preceded by a session on Black Banjo and and the Counterpoint section in this issue). Eastern No-Mindedness.” Friday late Fiddle Traditions in the United States, fea- Sure to engage your interest will be the morning will include a film screening of turing other fiddle and banjo performers. session on “Earlier American Musical African-American musical performances SAM members will be joining CBMR Periodicals and RIPM’s proposed ‘Americas from FOX Movietonenews. members for some exciting performances. Initiative’” (see Mary Wallace’s article in this The New Black Music Repertory Ensemble issue of the Bulletin), and the history of the continued on page 23 will be appearing at the Harris Theater for Society as told by Kate van Winkle Keller, Judith McCulloh, and Barbara Lambert at FROM THE P RESIDENT

Elsewhere in the Bulletin you will lines between musicology, history by the Anglo-Saxon heritage that music read about the Chicago conference. It (yes I believe there is a difference), is secondary. Yet the society can only do is an exciting one, and I would like to ethnomusicology, and music theory are so much. The real challenge is for each thank several people who have worked blurring. Departments and societies will of us to look beyond our own disciplin- hard to make it what it will be: Naomi remain, but it is becoming more difficult ary boundaries to engage both other André and members of the Program to identify the players: What one does scholars and the public at large. We Committee; Mariana Whitmer, who when one studies music suggests a true write a lot for ourselves, not enough for has been in charge of local arrange- ecumenicity in our field. When I survey others. As I look at some of the topics ments; and Morris Phibbs of the Center our own society’s activities I see that of our programs I see winds of change for Black Music Research, with whom global approach everywhere. SAM has there also. I am optimistic. we are meeting. We have a wonderful spearheaded something important, and Let me move from vision to reality. location in a city with a rich musical it will be on display in Chicago. We Our society can exist only as long as heritage, and I hope to see you there. have lived through many challenges there are resources to support it. That In beginning the job of president of to the old way of doing things, and means paying your dues. Please renew. SAM, it quickly became apparent that are now reaping rewards in the We need you. In addition you will soon the organization is only as good as the intellectual currents we have generated. be hearing about a new development members make it. We are a volunteer Performance and criticism share the campaign. Deane Root has done an out- organization, and I want to thank so same bed, at least at SAM. We are not standing job chairing the development many people who have volunteered strange bedfellows. committee, and has organized a major to take on tasks for the organization, I look for us to reach out even campaign that will put the society on a who have agreed to serve on or chair more, to other disciplines and other much firmer financial footing. Thank committees or serve in other positions societies, and to the world at large. We you Deane, and stay tuned everyone. of responsibility. The future of the have already begun that, in our next two And don’t forget to renew. organization belongs to you, and I am meetings, with the CBMR and then the gratified for the enthusiasm and sup- Music Library Association, and with the — Michael Broyles port from so many people. All we have Voices Across Time project. As a society accomplished with SAM would ground it is my fervent wish that we go further to a halt if members weren’t willing to engage disciplines still encumbered to give unselfishly (but hopefully not without reward) of their time. If you are interested in serving SAM please let me know or indicate such when you send in your membership renewal. As I look at SAM I am especially proud of the role that we have played The Bulletin of the Society for American Music in emphasizing that as a society and as a culture we embrace all music. I am The Bulletin is published in the Winter (January), Spring (May), and Summer (September) by old enough to remember when being the Society for American Music. Copyright 2006 by the Society for American Music, ISSN a musicologist meant that one studied 0196-7967. Western fine art music; anything else Editorial Board was off limits (let’s not even get into the Editor ...... Sandra Graham ([email protected]) issue of American music). Such a model Bibliographer...... Joice Waterhouse Gibson ([email protected]) might work with Beethoven or Mozart – although even there the issue is not Indexer ...... Amy C. Beal ([email protected]) so clear – but it is simply unacceptable Items for submission should be addressed to Sandra Graham, Music Department, for American music, where categories University of California, Davis, CA 95616, or, preferably, submitted as an attachment to and approaches cross, intermesh, and e-mail. Photographs or other graphical materials should be accompanied by captions and at times are simply indistinguishable. desired location in the text. Deadlines for submission of materials are 15 December, 15 I am beginning to see a trend: The April, and 15 August.

2 The Bulletin of the Society for American Music • Vol. XXXII, No. 1 The Bulletin of the Society for American Music • Vol. XXXII, No. 1 3 C OUNTERPOINT

Editor’s Note: In this issue, Counterpoint presents responses to Katherine Preston’s Standpoint article in the Fall 2005 Bulletin, titled “What Happened to the Nineteenth Century?” Please consider joining an extended discussion of this important topic at our annual conference in March at the panel “Nineteenth-Century Scholarship in American Music Studies.” If you would like to write a future Standpoint article, please send a short description of your idea to Sandra Graham, Bulletin Editor, at [email protected]. Ideal topics should be provocative and stimulate consider- ation of what we do, how we do it, who does it, and why.

From Sondra Wieland Howe, Ph.D., American music education, because there Independent Scholar, Wayzata, MN: are many topics for scholars to explore. to my Standpoint essay in the Fall 2005 Bulletin. I heartily agree that SAM conferences From Joseph Horowitz, New York City: Since Joe’s comments basically and publications should put more reaffirm my concerns, I have little to add emphasis on the nineteenth century, but I feel the same urgency Kitty does – except to acknowledge that his work I question one statement in Katherine about the importance of scholarship in as a scholar of late nineteenth-century Preston’s article: “information about the nineteenth century American music. Our American music and musical culture is role of music in education in the 19th ignorance remains vast. both valuable and important. He mentions century is almost nonexistent.” George Having served on the SAM Program in his response several additional areas Heller, a longtime member of SAM, Committee, I equally share Kitty’s that are crying out for further research, began publishing the Bulletin of Historical frustration that young scholars seem and by doing so adds to the already long Research in Music Education in 1980, and disproportionately interested in what they list that was part of my earlier essay. this publication, which is now called the already know: the music of the present Every nineteenth-century Americanist Journal of Historical Research in Music moment. How I wish they could share scholar can augment this inventory, Education, has many articles on education in the excitement of rediscovering the for one of the most exciting aspects of in the nineteenth century. Allen Britton’s vitality and diversity of American musical working in this rich and understudied field students at the University of Michigan life before World War I. An easy point of is that one is constantly stumbling across have researched nineteenth-century music entry is simply to read the newspapers promising/intriguing/valuable topics and education; for example, Bruce Wilson’s and magazines of the late Gilded Age, collections. The wealth of this research- Ph.D. dissertation, “A Documentary in which the vibrant coverage of musical yet-to-be-done (the “low-hanging fruit” History of Music in the Public Schools matters, compared to what we have today, to which I referred in my earlier essay) is of the City of Boston, 1830–1850” simply beggars description. simultaneously frustrating, however, for (University of Michigan, 1973). There are How many students of American although there is more than enough to go several books covering American music musical history have the opportunity to around, there are too few young scholars education in the nineteenth century: read, say, W. J. Henderson’s 2500-word interested in pursuing it. Michael Mark and Charles Gary, A New York Times review of the premiere One of the areas of research that I History of American Music Education of Dvorak’s New World Symphony? erroneously described as understudied, (MENC, 1999); Sondra Wieland Howe, Incredibly, it remains one of the best however, is music education. I thank Dr. Luther Whiting Mason: International things ever written about that piece. Howe for pointing out my error, and for Music Educator (Harmonie Park Press, Or Henderson’s The Art of Singing, listing some of the useful studies that 1997); Carol Pemberton, Lowell Mason: with its indelible portraits of Golden have been completed on this topic. An A Bio-Bibliography (Greenwood Press, Age operatic personalities? Or Henry additional important publication is Judith 1988) and Lowell Mason: His Life and Krehbiel’s Chapters of Opera and More Tick’s American Women Composers Works (UMI Research Press, 1985); Chapters of Opera, comprising an Before 1870 (Ann Arbor: UMI Research and James Keene, A History of Music unsurpassed two-part history of opera Press, 1983), which includes an invaluable Education in the United States (University in New York in its formative decades? discussion of the importance of music Press of New England, 1982) and Music Strauss’s Salome here falls victim to a in the education of nineteenth-century and Education in Vermont, 1700–1900 masterpiece of critical opprobrium, and women (and of the importance of female (Glenbridge Publishing, 1987). Alan Albert Niemann’s Sieg-mund, at the Met, academies as a source of employment Buechner, Yankee Singing Schools and inspires the most stirring account of a for musicians). As Dr. Howe points out, the Golden Age of Choral Music in New great singing actor that I have ever read. however, although there has been some England, 1760–1800 (Boston University, To my knowledge, Krehbiel had more good scholarship undertaken on music 2003) covers music teaching before 1800. impact on the musical life of New York education, there are many topics left to Many of these authors have been active than any writer before or since. Very little explore. Much remains to be done in in SAM. This list does reveal research has been written about him. all areas of nineteenth-century American activity in the 20th century that does not music studies. seem to continue into the 21st century. Response from Katherine K. Preston: SAM needs an interest group and more I thank both Sondra Wieland Howe conference papers on the history of and Joseph Horowitz for their responses

2 The Bulletin of the Society for American Music • Vol. XXXII, No. 1 The Bulletin of the Society for American Music • Vol. XXXII, No. 1 3 American Music History Exhibition: Frederick R. of Maryland library, where it will become the Frederick R. Selch Center for the Selch Collection, University of Chicago Study of American Music History. It is going to the main library because it con- tains sources that can be used by a variety – Barbara Lambert, Curator, of university departments and disciplines Frederick R. Selch Collection from the business school to the sciences, anthropology, fine and applied arts, law, history, and literature. A special exhibition of American Western and American music history in a Eric’s musical experiences were wide music history and its European sources, single place. ranging. He was a tenor and an instru- drawn from the premier collection of Frederick (Eric) Selch began collect- mentalist (he played stringed bass and our former colleague Frederick R. Selch ing musical objects at a tender age and for bagpipes). Early in his career he studied (1930–2002), is on view in the Special the early part of his career was an adver- set design, staging, and voice in Milan’s Collections Exhibition Gallery of the tising executive. It may have been his Accademia della Brera and at Accademia University of Chicago’s (main) Regenstein innate sense of promotion in combination Chigiana in Siena, and he sang in the La Library. It opens on March 8 and remains with his love of American music that ulti- Scala chorus. He set up and instructed on display until June 15, 2006. mately caused him to focus on American the J. Walter Thompson British office This exhibition contains some of the music history. His definition of American in commercial television production and rarest and most valuable documents in the music included the study of all peoples produced prize-winning commercials, history of music. It begins with many of resident on the American continent, from such as the Tony the Tiger Frosted Flakes the earliest books on musical instruments, Ellesmere Island to Tierra del Fuego. ad. From 1976 to 1983 Eric was president as well as works on theory and history Eric earned a Ph.D. at the end of and artistic director of the Federal Music from the 16th century on. It contains not his life in American Studies at NYU. Society, which presented music of the only books and music, but musical instru- He wrote an excellent dissertation, United States during its first 50 years with ments, works of art, and ephemera. It “Instrumental Accompaniments for singers and performers on period instru- covers a variety of subjects from musi- Yankee Hymn Tunes,” in which he back- ments, many drawn from his collection. cal theater, instruments, military and dated the use of musical instruments in “The Feds” presented some 80 concerts social music, to the early use of musical New England churches to the 1760s, even and recorded for New World Records. instruments in New England Protestant before the earliest American music was He produced both a Broadway and an churches. This is a special chance to see published by William Billings. Perhaps it Off-Broadway musical, and from 1983 original volumes by Agricola, Praetorius, was his innate sense of promotion and his to 1989 he was owner, publisher, and edi- Mersenne, Kircher, Diderot, Aaron, love of physical objects (which we now tor-in-chief of Ovation Magazine, writing Glareanus, Zarlino, and Morley as well call material culture), combined with his numerous editorials, feature articles, and as Hotteterre, Walther, Mattheson, and excellent taste, amazing skill at finding reviews of live and recorded performanc- the earliest music history by a resident in objects, as well as the means to collect, es. Between 1959 and 1996 he organized America: Alexander Malcolm. that led him to create what is arguably the and mounted seven exhibitions at various These and other volumes set the stage finest and most comprehensive collection public institutions and museums, had two for American music. There are a variety of on American music history. more exhibitions planned, and was head the earliest and most well-known treatises Eric’s collection contains 800 musi- of exhibitions at the Grolier Club (of book and methods for specific musical instru- cal instruments; 6000 books, many very collectors) in New York. He restored and ments. There are segments on popular rare; as well as some 35 early and fine even built a few instruments, and he and instruments, military music, bands, and American paintings, and 500 prints and his wife, Patricia, bound books. He pub- other ensembles. You will see exhibits drawings of musical subjects; and an lished numerous articles and catalogues about American and English theater untold amount of music ephemera. A and was an active member of various and their performers – including Fanny handsome, heavily illustrated and useful scholarly and professional societies. Eric Kemble and Mrs. Billington – the music catalogue of some of Eric’s finest books lived life to its fullest, and we benefit from they performed, and views of the theaters accompanies the exhibition and is avail- him because of this wonderful legacy of in which they worked. And you will see able in both hard and soft cover: Frederick American music history documents some of the earliest and most well known R. Selch and H. Reynolds Butler, The that will be available for study at the sacred and secular American music pub- Legacy of Sebastian Virdung: An illus- University of Maryland. lications by Billings, Brownson, Lyon, trated catalogue of rare books from the

Read, Holyoke, Holden, and Goodale, Frederick R. Selch Collection pertaining among others, as well as some of the ear- to the history of musical instruments (New liest American-made musical instruments. York: Grolier Club, 2005). In short, this is the chance of a lifetime to The Selch family is in the process of see some of the most significant works of donating the collection to the University

4 The Bulletin of the Society for American Music • Vol. XXXII, No. 1 The Bulletin of the Society for American Music • Vol. XXXII, No. 1 5 The Riddle of RIPM’S Negro Music Journal (Washington, D.C., Merchandise Review (New York, 1879 to 1902–3), Pro-Musica Quarterly (New date); The Musical and Sewing Machine Americas Initiative York, 1923–29), Modern Music (New Gazette, becoming Musical Courier York, 1924–46), and Musical Mercury (Philadelphia, New York, Evanston, (New York, 1934–39) all by Richard 1880–1961); Chicago Musical Times – Mary Wallace Davidson (Concord, MA) Kitson, 2003. The following eight jour- (Chicago, 1881–1926); S. S. Stewart’s nals have been announced as forthcom- Banjo and Guitar Journal (Philadelphia, For over twenty years the Retrospective ing: Saroni’s Musical Times (New York, 1882–1902); Freund’s Daily Music and Index to Music Periodicals: 1800–1950, 1849–52); The Musical Gazette (New Drama (New York, 1882–83); Freund’s generally known by the acronym of York, 1854–55); Church’s Musical Visitor Weekly (New York, 1883–92); The Etude its title in French, RIPM, has engaged (Cincinnati, 1871–97); Music: A Monthly (Philadelphia, 1883–1957); Metronome scholars to create annotated, browsable Magazine (Chicago, 1891–1902); The (New York, 1885–1961); Musical Leader tables of contents and indexes for many New Music Review and Church Music and Concert-Goer (Chicago, 1895–1967); international music journals. To date, Review (New York, 1901–35); Harvard The Musician (Philadelphia, Boston, New such analyses of 91 journals have been Musical Review (Cambridge, 1912–16); York, 1896–1948); Talking Machine published and are available individually Musical Advance (New York, 1913–48); World (New York, 1905–34); Pacific in hardcover and collectively online; 101 and Journal of Musicology (Greenfield, Coast Musician (Los Angeles, 1911–48); are underway. In test mode is a develop- Ohio, 1939–48). The Musical Advance (New York, ment that will make the full text of the But what next? To reach toward a 1913–48); Christiansen’s Ragtime Review journals themselves available online, with well-informed answer, RIPM has sought (Chicago, 1914–18); The Musical Digest access to them through RIPM’s database participation from scholars of American (New York, 1920–48); Eolian Review marketed by four different vendors. music in two ways: (1) through an online (New York, 1921–32); Baton (New Until recently RIPM’s coverage of forum coordinated by Linda Solow York, 1922–32); Disques (Philadelphia, American journals was minimal, but it is Blotner (The Hartt School, University 1930–33); Music Front (New York, now increasing rapidly. First to be treated of Hartford) running through January 1935–36); Music Vanguard (New York, was the oft-cited Dwight’s Journal, pre- 15, 2006, at [email protected], and (2) 1935); and The Juilliard Review (New pared by Richard Kitson in 1991. As through inquiries mailed to those without York, 1954–62). Not all these periodicals Katherine K. Preston so rightly said (in e-mail addresses. Gleanings from this have been microfilmed, but that need not her “Standpoint: What Happened to the forum will be discussed at the annual be a crucial factor in selection. Nineteenth Century?” in the previous meetings of the Music Library Association Anderson’s earlier rationale (in issue of this Bulletin), “The reality is that and the Society for American Music in Periodica Musica no. 2, 1984) could we do not really know how influential February and March, 2006, respectively. now be similarly expanded. Although Dwight was, because no one has exam- The forum proposes the following RIPM has focused exclusively on spe- ined his Journal in the context of other thirty-three periodicals for comment, cialized music journals, the guidelines music periodicals of the time.” One obvi- a list expanded from the one initially for inclusion of American periodicals ous difficulty for all of us is that the other proposed in the first issue of RIPM’s might also include journals that: (1) journals in library collections are scarce, Periodica musica (1983) by Gillian seek “comprehensive” representation of usually incomplete (because received as Anderson: The Musical Magazine, or American musical life to 1950; (2) treat gifts rather than as subscriptions), and Repository of Musical Science, Literature musical activities in the major cities; (3) in poor condition. Microfilm projects by and Intelligence (Boston, 1839–42); contain informative articles, reviews of UMI (in the American Periodicals Series), The Boston Musical Gazette (Boston, concerts and operas (local, national, and AMS, and Opus (now Chadwyck–Healey) 1846–50); Deutsche Musikzeitung für international), reviews of new music and did not always take care to collect com- die Vereinigten Staaten (Philadelphia, books, and local, national and foreign plete runs before filming, or to ensure 1856–61); Southern Musical Advocate news; (4) are musicological in nature, or proper quality control. Nevertheless these and Singer’s Friend (Singer’s Glen, popular in nature with a valuable musical films are fairly widely held in American VA, 1859–69); The Song Messenger component; (5) tend to be written for an research libraries. (Chicago, 1863–75); Brainard’s Musical educated audience, but not to the exclu- Since Dwight’s, RIPM has published World (Cleveland, 1864–95); The Musical sion of more popular magazines that offer analyses of the following eight journals: Independent (Chicago, 1868–73); The relevant information; (6) are recognized The Euterpeiad, or Musical Intelligencer Musical Million (Dayton: Singer’s Glen, as informative in the scholarly literature; (Boston, 1820–23), by Liesbeth Hoede- VA, 1870–1913); Southern Musical (7) are regularly cited in the press reviews maeker and Richard Kitson, 2002; The Journal (Savannah, 1871–82); Goldbeck’s of foreign journals; (8) are long run- Message Bird (New York, 1849–52), by Monthly Journal of Music (Chicago, ning, indicating, at least, that they merit David A. Day, 1992, and The New York 1873); Music Teachers’ National appraisal for possible value (or ephemeral Musical World (New York, 1852–60), by Association: Proceedings of the Annual him in 1993; The Musical World (Boston, Meeting ([Several], 1876–1905); The continued on page 9 1901–4), by Randi Trzesinski, 2004; The Music Trade Journal, becoming Musical

4 The Bulletin of the Society for American Music • Vol. XXXII, No. 1 The Bulletin of the Society for American Music • Vol. XXXII, No. 1 5 REMEMBRANCES

Boston, where he received his earli- ry scholar and teacher, Peter Abélard. No Victor Fell Yellin est musical training as clarinetist in the sooner had he settled into the routine of high school band and saxophonist in life in the little Ivy League college when, – Sandra Graham, a local swing band. After a year at the in 1960, Ohio State University made him University of California, Davis New England Conservatory of Music he an offer he could not refuse: an associate (with thanks to Margery Morgan Lowens) was drafted into the United States Army, professorship. serving as an infantryman and bugler- After a year at Ohio State, he returned messenger and fighting mainly in Alsace, to NYU. Before long, he united his com- Germany, and the Tyrol in Austria. poser’s sensibility and his love of music After demobilization in 1946 he was history in a reconstruction of Rayner admitted to Harvard College, where he Taylor’s The Ethiop and John Bray’s concentrated in music under the tutelage The Indian Princess, which premiered of Irving Gifford Fine, who encouraged in New York City in 1978. These were him to write a senior honors thesis on recorded by New World Records, and The Case for American Opera; Virgil his orchestral restoration of The Aethiop Thomson and Marc Blitzstein. After was subsequently published in the series graduating in 1949, he went to Paris with Nineteenth-Century American Musical his wife, Isabel Satenig Joseph, a music Theater (ed. Deane L. Root) in 1994. The critic for The Boston Post. There he spent unexpected death of his wife, companion, a year studying under Darius Milhaud and and editor in 1986 was a severe shock; Victor Yellin lived in Washington Eugène Bigot at Mills College in Paris, his song cycle Dark of the Moon (Sara Mews, a block of quaint townhouses and assisted at various performances of Teasdale) is her memorial. along a cobblestone street one and a half Milhaud’s operatic works, including Les His was a career devoted to American blocks from the music department at New Eumenides in Brussels and Bolivar at the music. In his scholarship he illuminated the York University, where he taught from Opéra. lives and compositions of Rayner Taylor, 1956 until a few weeks before his death On return to the U.S., he was accept- John Bray, George Whitefield Chadwick, on 24 October 2005. I doubt there was ed into the graduate program at Harvard, George Frederick Bristow, Horatio Parker, an occupant of the mews who had a finer the main attraction being Walter Piston. Marc Blitzstein, and Virgil Thompson. He appreciation of that famous neighborhood However, since Piston did not believe probed the unique sound of American off Washington Square than Victor Yellin. in academic degrees for creative artists, music in an important essay on prosodic In fact, he contributed an essay to Around Yellin (like other composers) had to syncopation. He challenged us to recon- the Square, 1830–1890, a volume on the enter the musicology program in order to sider the origins of music in the colonies life, letters, and architecture of Greenwich study with him. His first compositions in in an article on music in early Virginia. Village. One evening when I was a gradu- 1952–53 ranged from opera (Prescription He championed American opera in print ate student during the late 1990s, a friend for Judy) to chamber music (Passacaglia and in the classroom. And throughout his and I went to Victor’s home to pick him up for String Orchestra) to ballet (The Bear career of over 40 years, he made his own for dinner, our treat. Walking through the That Wasn’t). He received the Ph.D. in American music. His compositions were door, we encountered a piano overflowing 1957 with his dissertation, The Life and most recently honored in summer 2005, with scores and a living room stuffed with Operatic Works of George Whitefield by the London City Chamber Orchestra books, manuscripts, music, and record- Chadwick. Ensemble, in a tribute to Victor’s 80th ings. It was a home that seemed in perfect He immediately joined the faculty of birthday in December 2004. He taught synchronicity with its inhabitant. New York University as assistant profes- almost until the time of his death; he loved At dinner that night, my friend and I sor and conductor of the chorus, which his work, and “retirement” was not in his offered brief prompts and Victor respond- made it possible for him to continue his vocabulary. ed with lengthy, impassioned verbal dis- friendship with Thomson and Blitzstein, Anyone who experienced Victor as sertations. We listened, we laughed, we especially during the revival of Regina a teacher was unlikely to forget him. His learned, and at the end of the evening, by the New York City Center Opera undergraduate classes in the art of listen- Victor refused to let us pay the bill, even Company. In 1958 he went to Williams ing were engaging and detailed inquiries though we had made it clear he was to be College as a music professor and conduc- into classics of the Western canon. His our guest. It was a scenario replayed often tor of the Williams Glee Club. There he seminars on opera and American music during the thirteen years that I knew him. met John K. Savacool, who would write were so rich with information that one’s Victor Fell Yellin was a New the libretto of his opera Abaylar, based on note-taking hand gave out long before Englander, born in 1924 and raised in the life and misfortunes of the 12th-centu- the end of three hours. He was inspiring,

6 The Bulletin of the Society for American Music • Vol. XXXII, No. 1 The Bulletin of the Society for American Music • Vol. XXXII, No. 1 1 and he was maddening. He thought World War II was effectively the end of music The Society mourns the recent loss of these beloved members: that could be identified as American. His dislike of jargon was especially robust, Hoyle Carpenter Stuart Feder and when a student’s paper contained a John Ogasapian word he disliked he wrote a heart-felt “Ugh!” next to it. It was not uncommon Remembrances will be published in the next Bulletin. for him to return a seminar paper so dense with comments that the original typescript was illegible. It took a certain amount of The Society for American Music fortitude to be his graduate advisee. But it was fortitude well rewarded. He taught The Society for American Music promotes research, educational projects, and the dissemination of infor- us that the nineteenth century was a small mation concerning all subjects and periods embraced by the field of music in American life. Individual world, that we should look for connec- 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, tions between people and events, and that University of Pittsburgh, Pittsburgh, PA 15260; (412) 624-3031; [email protected]. we needed to know about everything, not Officers of the Society just music. It could be tempting to tune President ...... Michael Broyles him out as he reeled off genealogies, Past President ...... Carol Oja dates, presidents, cabinets, laws, and Vice President ...... Judith Tick myriad other facts housed in his prodi- Secretary...... R. Allen Lott gious memory; it was humbling when he Treasurer ...... Paul Laird invariably demonstrated their relevance to Members-at-large ...... Susan Key, Gayle Murchison, Kay Norton, Vivian Perlis, your work. Wayne Shirley, Larry Starr Editor, American Music ...... Ellie Hisama Victor joined the Society for Editor, Bulletin ...... Sandra Graham American Music in 1977, almost but Editor, SAM Website...... Mark Katz not quite a founding member. He loved Executive Director...... Mariana Whitmer the Society and served it well, mostly behind the scenes. If I had to sum him up Standing Committee Chairs: in one word, I would choose “vigor,” for Finance: Paul Laird; Long-Range Planning: Carol Oja; Development: Deane Root; Honors and Awards: it applied equally to his scholarship, his Paul Machlin; 2004 Lowens Award (Book): Susan Cook; 2005 Lowens Award (Book): David Brackett; opinions, his actions, his voice, his laugh, 2004 Lowens Award (Article): Ron Radano; 2005 Lowens Award (Article): Leta Miller; Housewright and his hearty zest for life. The mews, Dissertation Award 2004: Diana Hallman, 2005: Elizabeth Crist; Mark Tucker Award: Lisa Barg; Membership: Karen Bryan; Conference Site Selection: Ron Pen; Nominating: Larry Worster; Public New York University, SAM, students and Relations: Open; Book Publications Subvention (Johnson Bequest): James Deaville; Silent Auction: colleagues, friends and acquaintances, Dianna Eiland; Publications: Carol Oja; Cultural Diversity: Josephine Wright family – we all feel his loss, but we also carry remnants of his vigor. He is survived Appointments and Ad Hoc Committees: by his son, Garo. ACLS Delegate: Dale Cockrell; Archivist: Susan Koutsky; Committee on Publication of American Music: Judith McCulloh; SAM History Project, Denise Von Glahn; US-RILM Representative: Denise Von Glahn; Registered Agent for the District of Columbia: Cyrilla Barr Victor Yellin: Select publications Interest Groups: Books American Band History: Susan Koutsky; American Music in American Schools and Colleges: Christine 1990. Chadwick, Yankee Composer. de Catanzaro and James V. Worman; Folk and Traditional Music: Ron Pen; Connecting Outside the Smithsonian Studies of American Academy: Joseph Horowitz; Eighteenth-Century Music: Nicholas Butler; Gay/Lesbian/Bisexual/ Musicians 1.Washington: Smithsonian Transgendered: David Patterson; Gospel and Church Music: Roxanne Reed; Historiography: Michael Institution Press. Pisani; Music of Latin America and the Caribbean: Paul Laird; Musical Biography; Musical Theatre: 1994. The Aethiop (1813). Orchestral Anna Wheeler Gentry; Popular Music: Kirsten Stauffer Todd, Philip A. Todd; Research on Gender Restoration, with introduction and biblio and American Music: Liane Curtis; Research Resources: Alisa Rata; Twentieth-Century Music: David graphical notes. Nineteenth-Century Patterson American Musical Theater, Deane L. Root, gen. ed., vol. 2 (New York: Electronic Resources Garland). Listserv: [email protected] 1996. The Omnibus Idea (Warren, Mich.: Website: http://www.american-music.org Hamonie Park Press). Annual Conferences 32nd Annual Conference, Chicago, Illinois continued on page 20 Naomi André, Program Committee Chair Mariana Whitmer, Local Arrangements Chair

6 The Bulletin of the Society for American Music • Vol. XXXII, No. 1 The Bulletin of the Society for American Music • Vol. XXXII, No. 1 1 S TUDENT FORUM The Society for American Music is pleased to welcome these new members:

It is almost conference time! Student McGill University presence increases with every confer- Faculty of Music Student Members: ence, and Chicago should be no differ- 555, rue Sherbrooke ouest Michael Lanford, Sylva, NC ent. As our numbers grow, the Student Montreal, QC H3A 1E3 Katherine Baber, Bloomington, IN Forum is here to make both the confer- John Meyers, Philadelphia, PA ence and Americanist musicology a Roommate Share: We know your Tammy Rowe, Gainesville, FL welcoming and prosperous experience. conference budget is tight, so the Student Sara Nodine, Tallahassee, FL Feel free to contact either of the Student Forum provides assistance in finding John Smalley, New York, NY Forum co-chairs, Travis Stimeling a roommate for the conference. Please Laura Broadhurst, Cresskill, NJ ([email protected]) or Ryan Raul email Travis ([email protected]) Stephanie Jensen-Moulton, Ossining, NY Bañagale ([email protected]) at with your specific needs and we will do Elizabeth Titrington, Arlington, VA anytime with questions, comments, or our best to match you with an appropriate Randall Goldberg, Bloomington, IN concerns. Here are a few things we are student roommate. Vanessa Tome, Dallastown, PA planning in preparation for Chicago: a Survey: To gather information for Allison Susanne Robbins, Charlottesville, panel focusing on developing graduate this year’s Student Forum conference VA curricula in Americanist musicology, our panel, we have created a survey for all Heather Pinson, The Plains, OH annual Student Forum dinner, and a recep- current graduate students (or recently Nina S. Eidsheim, La Jolla, CA tion for recipients of the SAM Student degreed) working on American topics. Tildy Bayar, La Jolla, CA Travel Fund Award. Please take a few minutes to complete Laura Pita Parra, Lexington, KY this survey, which is located on the SAM Mark Tucker Award: This prize is Shannon McCarty, New York, NY Student Forum page: given yearly for an outstanding student Jenni Veitch Olson, Middleton, WI http://www.american-music.org/ paper read at our national meeting. Mark organization/studentpage.html Tucker, Vice President of the Society for Individual Members: American Music at the time of his death, Student Forum Listserv: We have Rosemary N. Killam, Washington, DC is known to most SAM members as a established a new listserv to accommodate Laurie Shulman, Dallas, TX leading jazz scholar. Recognizing Mark’s the SAM Student Forum. If you are Marilyn McCoy, Newburyport, MA gift for nurturing and inspiring his own interested in receiving (very few) Denise Gallo, Laurel, MD students and the high value he placed announcements throughout the year Marion Jacobson, Albany, NY on skillful and communicative scholarly regarding the annual conference and travel Mary Paquette-Abt, Baton Rouge, LA writing, the SAM Board established the funding opportunities, send an email to Donna King, Nashville, TN Mark Tucker Award, to be presented at “[email protected]” Janice Larson Razaq, Algonquin, IL the Business Meeting of the annual con- with “subscribe” in the subject field. Jane Solose, Kansas City, MO ference. The award consists of a modest We’ll see you in Chicago! amount of cash and a more significant amount of recognition! International Student Member: Plan ahead for this application! The Matthew Testa, Montreal, CANADA winner will be decided before the confer- ence by this year’s committee: Lisa Barg (chair), David Ake, Elizabeth Keathley, and Nancy Rao. Students who will be presenting papers at the Chicago confer- ence and who wish to compete for the 2006 Mark Tucker Award should send Westin Chicago River North four copies of the conference paper, along www.westinchicago.com with four copies of any accompanying audio or visual material, postmarked no later than February 1, 2006. Please note Deadline for reservations that the contact information listed in the at the conference rate is fall Bulletin was incorrect. Submissions February 19, 2006 should be sent to Lisa Barg, either elec- tronically ([email protected]), or to the following address:

2 The Bulletin of the Society for American Music • Vol. XXXII, No. 1 The Bulletin of the Society for American Music • Vol. XXXII, No. 1 3 “RIPM” continued from page 5 L ETTER TO THE E DITOR if of particular value); and (9) publish the writings of critics of recognized impor- tance. So RIPM is seeking answers to these Jonathan Elkus (Davis, California) was able to amplify upon Julia Busch’s article on her questions: Which of these proposed jour- father, William Busch (Fall 2005 Bulletin): nals are most urgent to treat and why? Which have you found most valuable in your own research and why? What jour- I’ve just read with much interest Julia Busch’s article in this Fall’s SAM Bulletin. nals not on this list do you think should Sylvia Lent, the violinist, was indeed married to Alfred Frankenstein, the music and art be included and why? Which should be critic of the San Francisco Chronicle. (See biographies, for instance, in Baker’s 6th and dropped? Are these guidelines compre- AmerGrove.) They were good friends of my parents, and I believe that Sylvia had retired hensive enough for American music of the from playing by the mid-1930s. Their two sons were named John (Jonathan? = Jon) and period? How might they be expanded? David. Frankenstein was a man of encyclopedic knowledge and towering intellect across We are all grateful for the thought- the spectrum of the arts and humanities – in addition to his being an unfailingly enticing ful answers thus far received. Perhaps writer. I remember Sylvia’s as a buoyant personality – she was lively and broad-ranged the lack of wider response further attests in conversation – and I think of them both often with much affection and deep respect. to the truth of the opinions expressed in Preston’s article (cited above) on the dearth of research and teaching in 19th- century American music. It appears that we have a kind of “Catch 22” situation here: It is difficult to get advice on how to expand indexes to earlier American periodicals when scholars lack knowledge about the substance of these journals because there are no indexes. It may therefore fall to a small merry band to assess this literature and make at least the immediate, necessary decisions for the next generation who, if Preston prevails, will take up this long-neglected work.

Majority of Historical U.S. Recordings Not Available to the Public

The Library of Congress has sound recordings are available for hear- the council on Library and Information announced the results of its commissioned ing only through private collectors or at Resources (CLIR) supervised the project study on the nation’s audio heritage. The research libraries that collect the nation’s and commissioned historian and media study found that most of America’s his- audio heritage and have the equipment to research executive Tim Brooks, with the torical sound recordings have become vir- play obsolete recordings. assistance of Steven Smolian, to conduct tually inaccessible, available neither com- The study, “Survey of Reissues of the study, which was co-published by both mercially nor in the public domain. Of U.S. Recordings,” grew out of a congres- CLIR and the Library of Congress. recordings made in the U.S. between 1890 sional directive to establish the National Librarian of Congress James H. and 1964, the rights to fully 84 percent are Recording Preservation Board (NRPB) at Billington, who was directed by Congress still protected by law. Of those protected, the Library of Congress to study the state to develop a comprehensive national rights holders have reissued only 14 per- of sound-recordings archiving, preserva- cent on compact disc. This means that the tion, and restoration activities. On behalf continued on page 10 vast majority of historically important of NRPB and the Library of Congress,

2 The Bulletin of the Society for American Music • Vol. XXXII, No. 1 The Bulletin of the Society for American Music • Vol. XXXII, No. 1 3 “Historical Recordings” continued from page 9 countries that have the 50-year copyright law in effect. FROM THE recordings preservation program in 2000, Significant recordings unavailable said: “This is a significant study that pres- legally in the United States include the B ULLETIN ents an important challenge to archives John Philip Sousa band’s cylinder record- and record companies to work together. ings of his most famous march, “Stars E DITOR We must assure that our recorded heritage and Stripes Forever,” Rudy Vallee’s 1931 is as accessible as possible for study and recording of “As Time Goes By,” and enjoyment.” Hoagy Carmichael’s first recording of This issue of the Bulletin reflects the State laws protect most pre-1972 “Star Dust.” Although bandleader Bob diversity of our Society, from 19th-century sound recordings until 2067, in accor- Crosby’s 1930s and 1940s recordings for scholarship, to Sousa events, to autoharp dance with the Sonny Bono Copyright Decca are unavailable in America, many summer camp, to house music. Special Term Extension Act of 1998. They cannot compact discs of these recordings are thanks to our first Standpoint author, be copied and distributed without permis- available on European labels. Katherine Preston, and the Counterpoint sion of rights holders. Unless a work has “Survey of Reissues of U.S. contributors in this issue, for inaugurating been reissued, a legal copy may not be Recordings” is available at: www.clir.org/ this new feature and stimulating discus- found in a record store for another 62 pubs/abstract/pub133abst.html. sion. And thanks to Kai Fikentscher for years. In extending copyright protection Print copies can be purchased at CLIR’s his illuminating photo essay on house to owners for a long period, Congress Website for $20 per copy plus shipping music culture. We have taken some sig- sought to provide owners an incentive and handling. nificant first steps in making the Bulletin to reissue, and thereby preserve, older Established by the National relevant to more members, but there is recordings. Wide dissemination of cre- Recording Preservation Act of 2000, the still more we can do. Coming soon: A ative works is one recognized means of advisory National Recording Preservation review section devoted to websites, blogs, preservation. The report gauges how suc- Board (www.loc.gov/nrpb) is appointed and print/recorded sources of American cessful this incentive has been over time. by the Librarian of Congress and con- music (thanks to Susan Key for this great On the basis of statistical analysis, this sists of representatives from professional suggestion). If you have ideas for features, report shows that most pre-1965 record- organizations of composers, musicians, photographs of interesting events involv- ings have not been reissued for public musicologists, librarians, archivists, and ing American music, topics to be covered, sale and are accessible only to those who the recording industry. Among the issues or would like to contribute in any way, visit the institutions that archive historical that Congress charged the board to exam- please send me an e-mail. Thank you. recordings or to individuals who own the ine were access to historical recordings, I am temporarily living in Ljubljana, recordings. the role of archives, and the effects of Slovenia, writing a book and teaching a The study analyzes a sample of 1,500 copyright law on access to recordings. course in African American music at the published recordings in seven major The Library of Congress universities of Ljubljana and Zagreb. My genres, made between 1890 and 1964, (www.loc.gov) is the nation’s oldest fed- walk to the university typically features a to determine the percentage of historical eral cultural institution and the world’s wide assortment of street musicians. One recordings still protected by copyright largest library with more than 130 million day as I approached the famous three laws and the degree to which they are items, which includes more than 2.7 mil- bridges, a familiar tune caught my ear, made available by rights holders. The lion sound recordings. and I crossed the Ljubljanica River with number of legal reissues of recordings The Council on Library and wistful rifts from an electric guitar and the made during this period varies consider- Information Resources is an indepen- words “I left my heart in San Francisco… ably by genre. Twenty percent of country dent, nonprofit organization dedicated to ” in a thick Slovene accent wafting after music recordings of this era are available improving the management of informa- me… commercially in the United States. Ten tion for research, teaching, and learning. percent of blues recordings have been CLIR works to expand access to informa- reissued, yet only 1 percent of recordings tion, however recorded and preserved, as of ethnic music issued before 1965 are a public good. still available for sale. The report also finds that many more – — Library of Congress PR 05-190 U.S. historical recordings are available in foreign countries than at home. Many countries have a 50-year copyright law for recordings, a period significantly shorter than in the United States. For example, only 10 percent of historical blues record- ings are available in America, while 54 percent are available for sale legally in

4 The Bulletin of the Society for American Music • Vol. XXXII, No. 1 The Bulletin of the Society for American Music • Vol. XXXII, No. 1 5 Sousa Year Wrap-Up PHOTO ESSAY – Patrick Warfield, Georgetown University

The past two years were busy ones for band scholars as we celebrated the sesquicentennial House Music is American of John Philip Sousa’s birth. The United States Marine Band in Washington, D.C., kicked Music – House Dance is off the celebrations with an all-Sousa concert in January of 2004, featuring some of the American Dance March King’s lesser-known suites and excerpts from his operettas. Of course the Society for American Music was treated to a panel of Sousa papers, a concert of Sousa Band cor- – Kai Fikentscher, Ramapo College of New Jersey, net solos, and a Sousa song recital at its annual meeting in Cleveland. In June, the Great with photos by Muema Lombe American Brass Band Festival’s Band History Conference in Danville, KY, was devoted to Sousa and his music, and featured papers by Loras Schissel, Stephen Bulla, Dianna Eiland, Patrick Warfield, Ronald Holz, Margaret Banks, Craig Parker, and Paul Bierley. In 2006, house music is just over twenty In November, the sesquicentennial weekend itself was celebrated in both Washington years old. In the U.S. music marketplace, and Illinois (where the bulk of Sousa’s performing library is held) with the dedication of where the shelf life of a dance record is the new John Philip Sousa Band Hall at the recently completed Marine Barracks annex, measured in weeks, there are those who and with a Sousa re-creation concert performed by the University of Illinois Band, con- now consider the genre “out of date” or ducted by James Keene. In January 2005, the Marine Band presented a traditional Sousa- “no longer relevant.” In comparison to its style concert, and in May Keith Brion conducted the United States Army Field Band in a older cousins such as jazz, rock & roll, concert featuring some and hip hop, however, house is certainly of Sousa’s lesser- a young American music. Yes, house is known vocal works. American, and African American, too. Several members of Falling under the latter category, and in the Society also read line with the reception history of jazz, Sousa-related papers rock & roll, and hip-hop, this has meant at a variety of inter- that media attention, academic scrutiny, national conferences and general recognition of house have throughout the year. been slow in coming. To many Americans, Our celebrations cul- house music is still more or less terra minated on November incognita in the same way that rock & roll 5, 2005 (the day before was before Alan Freed coined the term. Sousa’s 151st birth- For example, not many know that some day), with the unveil- house DJs have become Grammy winners ing of an eight-foot even though there is no category for “best bronze statue of the house record of the year” (yet?). March King, sculpted The following photographs provide by Terry Jones, out- a glimpse of the current house scene in side of the Marine New York City. Taken between 2002 Barracks annex in and 2005, they are part of a much larger Washington, D.C. archive of documents pertaining to New York City’s vibrant underground dance scene, www.bouncefm.com. Even though they were captured at different times and at various locations, these moments speak to each other as much as they do to the viewer, communicating a sense of collective spirit that marks a success- ful house party. In the African diaspora, music and dance are often understood as a way of affirming individual and collective humanity, and house is no exception. Can you feel it? Photo Courtesy of Marine Band Public Affairs Office continued on pages 12-13

4 The Bulletin of the Society for American Music • Vol. XXXII, No. 1 The Bulletin of the Society for American Music • Vol. XXXII, No. 1 5 PHOTO ESSAY

The party “Shelter” is one of New York City’s most longstanding (below). Based originally in Tribeca, it is now held at club Speed (pictured here). The bright (yel- low) lights at the center correspond to the place where the dancing is at its most energetic. This is also the place (known as the “sweet spot”) where the sound system’s quality is best. Conversely, at the darker edges of the dance floor, the energy of the party is less intense.

The view of the dance floor from the DJ booth. Shown here is the courtyard of PS 1 (a former New York City public school now serving as an annex of the Museum of Modern Art, Queens), July 2004.

Lola Rephan (left) deejays the party “Harmony” at the Sullivan Room in Greenwich Village. Her instruments are two Technics SL 1200 turntables, a Urei 1620 mixer, and a custom-made “lollypop” monaural head- phone. While her right ear monitors the record playing through the sound system, the other focuses on another record playing through the headphone. The aim is for a seamless segue from the former to the latter; there- fore, both records need to run in perfect sync for a successful transition. Note her right hand placed on the speed control of the turntable.

The energy of house music travels between the DJ booth and the floor, making both the DJ and the dancers inter- The dancing body as musical instrument. Note active performers. Kat Ayala the often pronounced use of arms and hands when here dances at a party called dancing to house music. “718 Sessions” (the area code for Brooklyn). Note the use of the tambourine.

6 The Bulletin of the Society for American Music • Vol. XXXII, No. 1 The Bulletin of the Society for American Music • Vol. XXXII, No. 1 7 PHOTO ESSAY

The discotheque as church. Facing the DJ booth, the dancers “testify” to a record by DJ Danny Krivit during his party “718 Sessions.”

DJ Spinna presents Michael Jackson vs. Prince at Club Speed. The musical tempo is “up,” corresponding to house conventions. The dancers in the crowd respond to the DJ’s call, exemplifying call and response.

Willie Ninja vogues at “718 Sessions.” Willie, a vogue dancer of international recognition and the founder and “mother” of the Unknown fan dancer at “718 Sessions.” In the hands of a male house House of Ninja, one of the mutual aid organizations portrayed in dancer, the fan can serve as a visual symbol of gay identity. Since Jenny Livingston’s documentary film Paris Is Burning, here dem- the emergence of house music, gay men have constituted a core fol- onstrates one of his signature gestures. lowing.

6 The Bulletin of the Society for American Music • Vol. XXXII, No. 1 The Bulletin of the Society for American Music • Vol. XXXII, No. 1 7 SOME RECENT ARTICLES AND REVIEWS

Compiled By Joice Waterhouse Gibson, University of Colorado at Boulder

AMERICAN MUSIC TEACHER Fall of the Secret Recording Industry, Wendy Sistrunk, 105. (Aug-Sep 05): Rev. of Joseph Horowitz, and Garry Freeman, The Bootleg Guide: Classical Music in America: A History of Classic Bootlegs of the 1960s and 1970s BANJO NEWSLETTER Its Rise and Fall, by Wesley True, 96; rev. – An Annotated Discography, by William (May 05): Casey Henry, “Earl Scruggs: of Pamela Youngdahl Dees, Piano Music Schurk, 69; rev. of multiple volumes of The Person and the Legacy,” 8. by Women Composers, Volume II: Women Complete Guide to Their Music, by David Born after 1900, by Jerome Reed, 102. N. Lewis, 71; rev. of Geoffrey O’Brien, BBC MUSIC MAGAZINE (Oct-Nov 05): Rev. of Daniel Felsenfeld, Sonata for Jukebox: Pop Music, Memory, (Jun 05): Humphrey Burton, “Leonard Samuel Barber and Benjamin Britten – A and the Imagined Life, by Timothy C. Bernstein: Genius of Theatre and Concert Listener’s Guide: Their Lives and Their Fabrizio, 76; rev. of Lynn Abbott and Hall,” 44. Music (Parallel Lives), by Ernest Kramer, Doug Seroff, Out of Sight: The Rise of 79. African American Popular Music, 1889- BLUE SUEDE NEWS 1895, by Elizabeth Yates McNamee, 77; (Sp 05): Rev. of Bill Millar, Let the Good AMERICAN MUSICAL rev. of Joel Dinerstein, Swinging the Times Rock!; Robert Darden, People Get INSTRUMENT SOCIETY Machine: Modernity, Technology, and Ready!: A New History of Black Gospel NEWSLETTER African American Culture between the Music; John and Angela Taylor, Band (Sum 05): Susan E. Thompson, World Wars, by Tim Brooks, 79; rev. of Aide; and Rich Cohen, Marchers and “References to Musical Instruments in the Tony Russell, Country Music Records: Rockers: Chess Records and the Business ‘Aufseher Collegium Protocoll,’ 1772- A Discography, 1921-1942, by Edward of Rock and Roll, 28. 1805,” 12; “Great American Guitars: Komara, 81; rev. of Michael Streissguth, Two New Permanent Exhibitions at the Johnny Cash at Folsom Prison: The BLUES REVUE National Music Museum to Open in Making of a Masterpiece, by Joe W. (Feb-Mar 04): Bill Dahl, “Etta James: The October 2005,” 13. Specht, 84; rev. of Kathleen E. R. Smith, Blues Is My Business,” 9. (Oct-Nov 04): God Bless America: Tin Pan Alley Goes to “Ray Charles: 1930-2004,” 24; Michael THE AMERICAN ORGANIST War, 86; rev. of Howard Reich and William Lydon, “‘You Have to Observe Life’ – A (Aug 05): Rossina Gomez, “A Short Gaines, Jelly’s Blues: The Life, Music, Personal Remembrance of Ray Charles,” History of the Pipe Organ in Mexico and Redemption of Jelly Roll Morton, by 26. (Apr-May 05): Bill Dahl, “Mavis as Told by Maestro Manuel Zacarías Butch Thompson, 87; rev. of Allan Sutton, Staples: Hope & Glory,” 8; rev. of Guido Saucedo,” 59. comp., Cakewalks, Rags and Novelties: van Rijn, The Truman and Eisenhower The International Ragtime Discography Blues: African-American Blues and AMERICAN RECORD GUIDE (1894-1930), by Edward A. Berlin, 89; Gospel Songs, 1945-1960, by Christine (Sep-Oct 05): Rev. of Vincent A. Lenti, rev. of Todd S. Jenkins, Free Jazz and M. Kreiser, 50. (Aug-Sep 05): Ryan For the Enrichment of Community Life: Free Improvisation: An Encyclopedia and Whirty, “Blues 101: Students at Indiana George Eastman and the Founding of Stan Jeffries, Encyclopedia of World Pop University Say New Class Gives Them the Eastman School of Music, by David Music 1980-2001, by Robert Iannapollo, ‘Whole New Appreciation for Blues,’” Mulbury, 238. 91; rev. of Helio Orovio, Cuban Music 38. from A to Z, by Gage Averill, 94; rev. ASSOCIATION FOR RECORDED of Tim Brooks, Lost Sounds: Blacks CANADIAN FOLK MUSIC SOUND COLLECTIONS JOURNAL and the Birth of the Recording Industry, BULLETIN (Sp 05): Raymond R. Wile, “The Local 1890-1919, by Richard Martin, 96; rev. of (Win 04-05): Rev. of Mike Yates, Elaine Phonograph Companies (1888-1920),” 1; Ross Laird and Brian Rust, Discography Bradtke, and Malcolm Taylor, ed., Dear James Cushing, “Prisoners in a World of of Okeh Records, 1918-1934, by Tim Companion: Appalachian Traditional Mystery: Bob Dylan and His Chronicler,” Brooks, 99; rev. of Alex van der Tuuk, Songs and Singers from the Cecil Sharp 45; Tim Brooks, “Copyright & Fair Paramount’s Rise and Fall: A History Collection, by Rosaleen Gregory, 20; rev. Use,” 50; rev. of Clyde T. McCants, of the Wisconsin Chair Company and of Gavin James Campbell, Music and the American Opera Singers and Their Its Recording Activities, by Edward Making of a New South, by David Gregory, Recordings: Critical Commentaries and Komara, 100; rev. of Frank Hoffmann, 23. (Sp 05): Sarah J. Moore, “Fostering Discographies, by Richard LeSueur, ed., Encyclopedia of Recorded Sound, Local Identity: Great Big Sea, Trad-Pop 65; rev. of Joseph Horowitz, Classical 2nd ed., by Timothy C. Fabrizio, 102; rev. and Folksong,” 6; Lorne Brown, “Is Music in America: A History of Its Rise of Abby Smith, David Randal Allen, and There Still Traditional Music in Canada? and Fall, by Dennis Rooney, 68; rev. Karen Allen, Survey of the State of Audio Part 2,” 14; Rosaleen Gregory, “Singing of Clinton Heylin, Bootleg! The Rise & Collections in Academic Libraries, by the Child Ballads,” 20; rev. of Thomas

8 The Bulletin of the Society for American Music • Vol. XXXII, No. 1 The Bulletin of the Society for American Music • Vol. XXXII, No. 1 9 Goldsmith, ed., The Bluegrass Reader, of Folk Culture – The Burl Ives ‘Bawdy of Jubilate Hymns, by C. Michael Hawn, by Laurie Mills, 29; rev. of Patricia R. Song’ Tape,” 11; Craig Harris, “The 58. Schroeder, Robert Johnson: Mythmaking Sounds of the PowWow,” 21. and Contemporary American Culture, by INDIANA THEORY REVIEW Mike Barry, 30. EARLY MUSIC AMERICA (Sp-Fall 02): Gretchen C. Foley, (Fall 05): Judith Malafronte, “The Artist “Arrays and K-Nets: Transformational CANADIAN JOURNAL FOR and the Academy: Teaching Early Voice Relationships within Perle’s Twelve-Tone TRADITIONAL MUSIC in America,” 22. Tonality,” 69. (31/2004): Anna Hoefnagels, “Northern Style Powwow Music: Musical ETHNOMUSICOLOGY INTERNATIONAL TRUMPET Features and Meanings,” 10; Elaine (Fall 05): Geoffrey Baker, “¡Hip Hop, GUILD JOURNAL Keillor, “Marius Barbeau and Musical Revolución! Nationalizing Rap in Cuba,” (Oct 04): Carole Nowicki, “Walter F. Performers,” 24. 368. Smith, ‘The Star of the Band,’” 48. (Jan 05): Tom Erdmann, “A Passion CLAVIER ETHNOMUSICOLOGY FORUM/ for Creativity: An Interview with Herb (Jul-Aug 05): Martin Berkofsky, BRITISH JOURNAL OF Alpert,” 21. (Jun 05): Leigh Anne “The Piano Music of Alan Hovhaness ETHNOMUSICOLOGY Hunsaker, “Baroque Trumpet Study in the [American folk-inspired],” 18. (13/1 04): Rev. of René T.A. Lysloff and United States,” 37. Leslie C. Gay, Music and Technoculture, COMPUTER MUSIC JOURNAL by Steve Waksman, 158. (14/1 05): Rev. JAZZ EDUCATION JOURNAL (Fall 05): Arun Shenoy and Ye Wang, of Richard Cullen Rath, How Early (Aug 05): Hans Peter Meyer, “Canada “Music Information Retrieval: Key, America Sounded, by Vic Gammon, 115. – Organizing and (dis)Organizing the Chord, and Rhythm Tracking of Popular Noises of the World: Jazz in the Comox Music Recordings,” 75; rev. of Judy Valley,” 29. Malloy, ed., Women, Art, and Technology, FILM SCORE MONTHLY by Elizabeth Hinkle-Turner, 88; rev. of (May-Jun 05): Stephen Woolston, “Psych JOURNAL OF AMERICAN Christoph Cox and Daniel Warner, eds., Out: John Barry’s Scores from the CULTURE Audio Culture: Readings in Modern Hollywood Years, 1974-1980,” 20; James (Jun 05): Michael Frontani, “‘From the Music, by Ian Whalley, 96. Lochner, “‘You Have Cheated Me’: Bottom to the Top’: Frank Sinatra, the Aaron Copland’s Compromised Score to American Myth of Success, and the CURRENT MUSICOLOGY ‘The Heiress,’” 36. (Jul-Aug 05): Scott Italian-American Image,” 216; rev. of (Sp 03): Edmund J. Goehring, “Musical Essman, “What You Don’t See Can Hurt Waring, Manufacturing the Muse: Estey Platonism in Modern Culture,” 185. (Fall You: A 30th Anniversary Retrospective of Organs & Consumer Culture in Victorian 03): Jonathan T. King, “The Bluegrass John Williams’s Jaws,” 22. America, by Bruce Cohen, 238. Reader,” 97. FOLK ROOTS JOURNAL OF AMERICAN DAS ORCHESTER (May 05): Christine Charter, “Cuban FOLKLORE (Sep 04): Anselm Rose, “Im Westen nichts Banned: After Everything Juan De (Sum 05): F.F. McMahon, “Repeat neues? Aktuelle Entwicklungen in der nor- Marcos Gonzalez and His Afro Cuban Performance: Dancing Didinga with the damerikanischen Orchestralandschaft,” All-Stars Did for Cuban Music’s Profile, Lost Boys of Southern Sudan [in New 10; Ronny Porsch, “Philharmonics United: They Were Denied Exit Visas by Their York],” 354. (Fall 05): Kevin Eyster, ein porträt der American Symphony Own Government,” 45. “Langston Hughes and the Blues,” 491; Orchestra League,” 15. (Oct 04): Stefanos Winifred Morgan, “‘The Coon in the Tsialis, “Beethoven im Land des Salsa: THE HYMN Box’: A Global Folktale in African- Musiktradition und Musikalltag in Kuba,” (Sp 05): Patricia Woodard, “Joseph American Tradition,” 492; Paul Jordan- 21. (Nov 04): Günter Buhles, “Jensits von Lincoln Hall: Gospel Song Composer, Smith, “Dancing with the Virgin: Body Afrika: Aussenseiter der Musikgeschichte: Editor, Publisher,” 6; Clark Kimberling, and Faith in the Fiesta of Tortugas, New schwarze Kompositen,” 26. “The Native American Hymns,” 18; Mexico,” 497; David Atkinson, “The Lois C. Willand, “Use of the Drum with English and Scottish Popular Ballads,” THE DIAPASON Christian Native American Hymns,” 27; 504; David Diallo, “Robert Johnson: (Sep 05): Bynum Petty, “Impressions Robin Knowles Wallace, “Hymns in Lost and Found,” 505; Nathan E. Bender, of the Organ: American Organ Archives Periodical Literature,” 47; rev. of Wyatt “Singing the Songs of My Ancestors: The Symposium,” 18. Tee Walker, Spirits That Dwell in Deep Life and Music of Helma Swan, Makah Woods: The Prayer and Praise Hymns of Elder,” 506. DIRTY LINEN the Black Religious Experience, by Larry (Oct-Nov 05): Steve Winick, “Unearthed: Wolz, 62. (Sum 05): Rev. of Michael Treasures and Oddities from the Archives Saward, Jubilate Everybody: The Story

8 The Bulletin of the Society for American Music • Vol. XXXII, No. 1 The Bulletin of the Society for American Music • Vol. XXXII, No. 1 9 JOURNAL OF MUSICOLOGICAL Nation: Música Tropical in Colombia, by Sounds of Early Cinema, by Rebecca RESEARCH Lise Waxer, 235; rev. of Kai Fikentscher, Leydon, 226; rev. of Helena Simonett, (Apr-Jun 05): Rev. of Denise Von You Better Work! Underground Dance Banda: Mexican Musical Life across Glahn, The Sounds of Place: Music and Music in New York City, by William Borders, and Eric Zolov, Refried Elvis: the American Cultural Landscape, by Echard, 239; Michael Lenz, “Hip-Hop The Rise of the Mexican Counterculture, Michael V. Pisani, 177. Landscapes,” 245; Irwin Silber, “Paul by John Koegel, 247. (Sum 05): John Robeson – A Twentieth-Century Joshua,” Street, “Between Montmartre and the JOURNAL OF POPULAR CULTURE 249. (Mar 02): Geoffrey Jacques, Mudd Club: Popular Music and the (Aug 05): George H. Lewis, “Dirt Roads “Music, Democracy, Internationalism, Avant-Garde,” 472; Christopher Smith, and White Lines: Identity and Place in the Solace,” 3; Mark Anthony Neal, “Crisis “Jazz Cultures/Going for Jazz: Musical Country Sounds of the Other California,” in Real Time (Digitized, Remastered Practices and American Ideology,” 476. 855. and MP3ed),” 7; Carol Vernallis, “The Functions of Lyrics in Music Video,” 11; LIVING BLUES JOURNAL OF POPULAR MUSIC rev. of Nelson George, Hip Hop America (Jan-Feb 05): Robert L. Stone, “Make a STUDIES and Alan Light, The Vibe History of Hip Joyful Noise: Sacred Steel in the Church (Jan 01): Keir Keightley, “You Keep Hop, by Murray Forman, 63; rev. of and Beyond – A Brief History of the Coming Back Like a Song: Adult Elijah Wald, Josh White: Society Blues, House of God Church and the Sacred Audiences, Taste Panics, and the Idea of by James Smethurst, 74; rev. of Mark Steel Musical Tradition,” 14. the Standard,” 7; Guthrie P. Ramsey, Jr., Mattern, Acting in Concert: Music, “Blues and the Ethnographic Truth,” 41; Community, and Political Action, by MUSIC REFERENCE SERVICES Kembrew McLeod, “Genres, Subgenres, Michael Morse, 77; Kembrew McLeod, QUARTERLY Sub-Subgenres and More: Musical and “Making the Video: Constructing an (8/4 04): Rev. of Richard Carlin, Country Social Differentiation within Electronic Effective Counter-Hegemonic Message in Music: A Biographical Dictionary, by Dance Music Communities,” 59; Only Forty-Nine Minutes,” 79. (Sep 02): Gary R. Boye, 95. Christopher Sieving, “Super Sonics Song Miguel Mera, “Is Funny Music Funny? Score as Counter-Narration in Super Fly,” Contexts and Case Studies of Film Music MUSIC THEORY SPECTRUM 77; “A Discussion about Napster,” 93; Humor,” 91; Stephen Nunns, “Good (Sp 05): Jeffrey Perry, “Cage’s Sonatas rev. of Paul Théberge, Any Sound You Vibrations: Ambience and Alienation and Interludes for Prepared Piano: Can Imagine: Making Music/Consuming in the Twentieth Century,” 115; Robert Performance, Hearing and Analysis,” 35. Technology, by Craig Morrison, 103; rev. Heustadt, “Buena Vista Social Club ver- of Kelly, Karen, and Evelyn McDonnell, sus La Charanga Habanera: The Politics NOTES: QUARTERLY JOURNAL ed., Stars Don’t Stand Still in the Sky: of Cuban Rhythm,” 139; rev. of Norman OF THE MUSIC LIBRARY Music and Myth, by John Dougan, 105; C. Stolzoff, Wake the Town and Tell the ASSOCIATION rev. of Harris Berger, Metal, Rock and People: Dancehall Culture in Jamaica, (Jun 05): Melissa Ursula Dawn Jazz: Perception and the Phenomenology by Shannon Dudley, 166; Joe Schloss, Goldsmith, “Lounge Caravan: A Selective of Musical Experience, by Mike Daley, “‘Crafting Sounds, Creating Meaning: Discography,” 1060. (Sep 05): Daniel 107; Kick Lourie, “Poetry and the Making Popular Music in the U.S.’: Heartz, “Errant Thoughts on Some Rare Blues,” 111; Murray Forman, “It Ain’t All Reflections on the Experience Music Items in the Jean Gray Hargrove Music about the Benjamins: Summit on Social Project’s First Annual Conference,” 185. Library [Berkeley],”11; Robert Orledge, Responsibility in the Hip-Hop Industry,” “Charles Koechlin, Catherine Urner, and 117; Jeffrey Melnick, “Using Music [re: JOURNAL OF THE AMERICAN the Shatto-Urner Manuscript Collection limited recording resources for teach- MUSICAL INSTRUMENT SOCIETY at the University of California, Berkeley,” ing popular music in the undergraduate (28/2002): Darcy Kuronen, “Early Violin 48; rev. essay of Ned Sublette, Cuba and classroom],” 125. (Sep 01): Jairo Moreno, Making in New England,” 5. Its Music: From the First Drums to the “Tropical Discourses: Community, Mambo; Helio Orovio, Cuban Music History, and Sentiment in Rubén Blades’s JOURNAL OF THE AMERICAN A to Z; Leonardo Acosta, Cubano Be, Latin Music(s),” 133; Cotten Seiler, MUSICOLOGICAL SOCIETY Cubano Bop: One Hundred Years of Jazz “‘Have You Ever Been to the Pleasure (Fall 04): Albin J. Zak, III, “Bob in Cuba; and Katherine J. Hagedorn, Inn?’ The Transformation of Indie Rock Dylan and Jimi Hendrix: Juxtaposition Divine Utterances: The Performance of in Louisville, Kentucky,” 189; Geoffrey and Transformation ‘All Along the Afro-Cuban Santería, by David F. Garcia, Jacques, “A Roundtable on Ken Burns’s Watchtower,’” 599; rev. of Theodore 95; rev. of Anthony Seeger and Shubha Jazz,” 207; rev. of Gene Santoro, Myself Gracyk, I Wanna Be Me: Rock Music and Chaudhuri, eds., Archives for the Future: When I Am Real: The Life and Music the Politics of Identity, and Lori Burns Global Perspectives on Audiovisual of Charles Mingus and Gener Santoro and Mélisse Lafrance, Disruptive Divas: Archives in the 21st Century, by Suzanne and Rob van der Bliek, The Thelonious Feminism, Identity and Popular Music, by Flandreau, 100; rev. of Simon Frith and Monk Reader, by David W. Stowe, 227; Jacqueline Warwick, 702. (Sp 05): Rev. of Lee Marshall, eds., Music and Copyright, rev. of Peter Wade, Music, Race, and Richard Abel and Rick Altman, eds., The by Brian Cockburn, 104; rev. of James R.

10 The Bulletin of the Society for American Music • Vol. XXXII, No. 1 The Bulletin of the Society for American Music • Vol. XXXII, No. 1 11 Cowdery, Zdravko Blazekovic, and Barry OPERA NEWS SCHERZO: REVISTA DE MÚSICA S. Brook, eds., Speaking of Music: Music (Jul 05): Brian Kellow, “Guettel’s The (Apr 05): Mario Gerteis, “Cuando el Conferences, 1835-1966, by Manuel Light in the Piazza, at Lincoln Center ‘Ragtime’ y la opera se unen [Joplin’s Erviti, 106; rev. of Timothy Mangan and Theater, Could Signal the Beginning of Treemonisha],” 58. (May 05): Antonio Irene Herrmann, eds., Paul Bowles on a New Era for the American Musical,” Muñoz Molina, “Invisibilidad de Harold Music, 116; rev. of Christopher Washburne 8. (Aug 05): Michael John LaChiusa, Arlen,” 3. and Maiken Derno, eds., Bad Music: The “The Great Gray Way: Is It Prognosis Music We Love to Hate, by Brenda Gale Negative for the Broadway Musical?” SING OUT! Beasley, 136; rev. of Thérèse Smith, ‘Let 30; Eric Myers, “American Classics (Sum 05): Scott Alarik, “Pete Seeger: In the Church Sing’: Music and Worship in a [Ned Rorem],” 42; rev. of Beverly Soll, Concert,” 57; rev. of Thomas Goldsmith, Black Mississippi Community, by Ericka I Dream a World: The Operas of William ed., The Bluegrass Reader, by John Patillo, 142; rev. of Aaron A. Fox, Real Grant Still, by John W. Freeman, 66. Lupton, 106; rev. of Dena J. Epstein, Country: Music and Language in Working- Sinful Tunes and Spirituals: Black Folk Class Culture, by Tracey E.W. Laird, 147; THE OPERA QUARTERLY Music to the Civil War, by Michael Cala, rev. of Deborah Pacini Hernandez, Héctor (Sp 05): Harlan Jennings, “Her Majesty’s 107; rev. of Shirley Collins, American Fernández-L’Hoeste, and Eric Zolov, eds., Opera Company in Kansas City [mid- over the Water, by Ken Roseman, 107; rev. Rockin’ las Américas: The Global Politics 1880s],” 227. of Alan L. Spurgeon, Waltz the Hall: The of Rock in Latin/o America, by Richard American Play Party, by Michael Cala, McRae, 149. ORGANISED SOUND 108; rev. of Woody Mann, The Guitar of (Apr 05): Rev. of Timothy Warner, Pop Robert Johnson, by Michael Milies, 108; THE OLD-TIME HERALD Music – Technology and Creativity, by rev. of Stacy Phillips, Favorite American (Sp 05): Burgin Matthews, “Eight Hands Jeroen van Iterson, 86. Rags and Blues for Fiddle, and Stacy Up!: Square Dance Calls by Black Phillips and Kenny Kosek, Bluegrass Musicians on 78 Records,” 12; Tony POPULAR MUSIC AND SOCIETY Fiddle Styles, by Michael Miles, 109. Thomas, “While [sic] Black Banjo?: The (Jul 05): Mickey Hess, “Metal Faces, Black Banjo List Serve and the Black Rap Masks: Identity and Resistance in SONUS Banjo Gathering,” 44. (Sum 05): Jack Hip Hop’s Persona Artist,” 297; Robert (Sp 05): Robert Gauldin, “Howard Bernhardt, “With a Song in Her Heart: W. Van Sickel, “A World without Hanson’s Sinfonia Sacra (1954) and his The Musical Journey of Alice Gerrard,” Citizenship: On (the Absence of) Politics Harmonic Materials of Modern Music 24; Alice Gerrard, “A Collection of and Ideology in Country Music Lyrics, (1960),” 1; Stanworth Beckler, “Harry Photographs by Alice Gerrard,” 31; 1960-2000,” 313; Barbara Bradby, “She Partch: An Appreciation,” 53. rev. of Tony Russell, Country Music Told Me What to Say: The Beatles and Records, A Discography 1921-1942, by [U.S.] Girl-Group Discourse,” 359; Paul THE TRACKER Suzy Rothfield Thompson, 62; rev. of Kauppila, “The Sound of the Suburbs: A (Sum 05): Laurence Libin, “Organ Bob Carlin, String Bands in the North Case Study of Three Garage Bands in San History, with Strings Attached,” 3; Carolina Piedmont, by Jon Pankake, 64. Jose, California during the 1960s,” 391; Jonathan Ortloff, “[G. Donald] Harrison’s Tim Brooks, “Showdown at the Copyright Forgotten American Classic: Aeolian- OPERA Corral: Why Scholars Need to Speak Up Skinner’s Opus 953 for Strong Auditorium (Mar 05): Rev. of Marilyn Horne with About Copyright and Recordings,” 411. at the University of Rochester, Rochester, Jane Scovell, Marilyn Horne: The Song New York,” 10. Continues, by William Albright, 369. POPULAR MUSIC HISTORY (Apr 05): Rev. of Renée Fleming, The (Apr 04): Charles Hamm, “Popular Music Inner Voice: The Making of a Singer, by and Historiography,” 9; Paul Oliver, George Hall, 495. “History Begins Yesterday,” 15; Alan Stanbridge, “A Question of Standards: OPERA JOURNAL ‘My Funny Valentine’ and Musical (Jun 03): Bonnie Cutsforth-Huber, “Pride Intertextuality,” 83; Andy Linehan, and Perseverance: The Operas of William “Popular Music Resources: Section Grant Still,” 2; rev. of William A. Everett Introduction,” 109. and Paul R. Laird, The Cambridge Companion to the Musical, by John PSYCHOLOGY OF MUSIC Harrison, 38. (Mar 04): Rev. of Shirley (Oct 05): Raymond MacDonald and Verrett with Christopher Brooks, I Never Graeme Wilson, “Musical Identities of Walked Alone: The Autobiography of an Professional Jazz Musicians: A Focus American Singer, by John Harrison, 42. Group Investigation,” 395.

10 The Bulletin of the Society for American Music • Vol. XXXII, No. 1 The Bulletin of the Society for American Music • Vol. XXXII, No. 1 11 Help Erect a Headstone for Alexander Reinagle’s Unmarked Grave FROM THE In Old St. Paul’s Cemetery, Baltimore EXECUTIVE (Bap. April 23, 1756-September 21, 1809) DIRECTOR Alexander Reinagle, composer, Make checks payable to: If you haven’t yet sent in your renewal conductor, arranger, pianist, impresario, payment for 2006, this may be your last issue and theatrical manager, was born in "Reinagle Fund, Old St. Paul's" of the Bulletin. Help us keep you current: England and immigrated to the United Old St. Paul's Parish renew today. States in 1786. He dominated the musical 309 Cathedral Street scene for over two decades, influencing Baltimore, MD 21201 The new website committee, chaired by musical taste and development in Mark Katz, is busy appraising the Society’s Philadelphia in the late 18th century. (Office manager: Chuck Calvarese, website (www.american-music.org) and Reinagle composed the first American Accountant 410-685-3404 (ext 27)) considering changes. Visit the website works for the piano, and his Scots Tunes email: [email protected] and let us know if you find it helpful or were the first solely secular music to be confusing. Our goal is to make the website published in the U.S. He was also the easy to navigate and relevant to your needs. first in America to replace the harpsichord with a piano in the orchestra pit. This year we had a record-breaking num- Reinagle typified the emigrant ber of student applicants for travel assistance professional musician of the Federal to the conference in Chicago. We wish we period. First settling in New York, where could support each and every one of them, he began teaching piano and violin, yet funds are limited. Every contribution later he moved to Philadelphia. There is important, and now you can designate he revived the City Concerts programs whether you want your donation to help stu- during the 1786-1787 seasons and was dents get to the annual conference this year also active as a teacher. His most famous or next. Please help insure the longevity of the Society by supporting the Student Travel pupil was the adopted daughter of George Endowment. Washington, Nellie Custis. Beginning in 1791, Reinagle was If you’re unable to contribute money, you the music director of the New Company can still help the student fund by donating to until his death, and was responsible for the SAM Silent Auction. Old sheet music, the building of both the New Theatre in CDs, books, and other paraphernalia are Philadelphia and the Baltimore Theatre valuable to someone. If you aren’t coming in Baltimore. In the first six seasons, the to Chicago you can still send them and company produced more than seventy- your materials will be greatly appreciated. five musical works. Reinagle composed, Artist’s rendering of the new Reinagle Contact me to find out how (412-624-3031 arranged, or orchestrated music for all headstone. Anticipated date of re-dedication or [email protected]). of the productions and composed two is 2006. ballad operas in 1795, The Volunteers Each year I look forward to the SAM and Sicilian Romance. He also composed conference as an opportunity to say hello and various piano pieces, including two sets catch up with many of you. Because I work of Twenty-four Easy Pieces, Collection alone in the SAM office, I find the conversa- of Scots Tunes with Variations, and tions and ideas you share to be energizing Six Sonatas for keyboard with violin and motivating, and they sustain me through accompaniment. Unfortunately, all but a the rest of the year. I am hoping that because few of his musical scores for the Chestnut Chicago is centrally located and easily acces- Street Theatre's productions were lost in sible to most of the country, I will have the chance to get acquainted with many more of the fire. Reinagle moved to Baltimore in you at this conference. Come to Chicago 1803, and died there on September 21, and make my year. 1809. — Mariana Whitmer

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

two finalists for the first Claude Palisca Emmett G. Price III, assistant professor Members in the News Prize of the AMS. The complete Critical of music and African American Studies Commentaries of that edition are now on at Northeastern University (Boston, MA) Several SAM members are winners of the web site of the Charles Ives Society: has recently accepted the duties of Editor- the 2005 ARSC Awards for Excellence http://www.charlesives.org. in-Chief of the Journal of Popular Music in Historical Recorded Sound Research, Studies, the academic journal for the which honor works published in 2004. Mark Katz (Peabody Conservatory, Johns United States Branch of the International Begun in 1991, the awards are presented to Hopkins University) has been awarded a Association for the Study of Popular authors and publishers of books, articles, two-year grant from the National Science Music (IASPM). liner notes, and monographs, to recognize Foundation to fund a study of race and outstanding published research in the technology in the world of hip-hop turn- Chris Strachwitz received the 2005 field of recorded sound. In the category tablism. Katz will collaborate on the ARSC Lifetime Achievement Award for of Best Research in Recorded Classical project with Rayvon Fouché, a historian his pioneering work in researching tradi- Music, the honor for Best Discography of technology at Rensselaer Polytechnic tional musics in the Americas. Strachwitz was awarded to Leroy Anderson: A Bio- Institute. founded Arhoolie Records in 1960 and, Bibliography, by Burgess Speed, Eleanor over the decades, amassed a catalogue Anderson, and Steve Metcalf (Praeger). Portia K. Maultsby and Mellonee V. containing hundreds of great sets, most of The award for Best Research in General Burnim have edited a new volume titled them produced by Chris himself. In 1995, History of Recorded Sound was given to African American Music: An Introduction, he established the not-for-profit Arhoolie Lost Sounds: Blacks and the Birth of the published by Routledge Press (2006, cur- Foundation to preserve the rarest portions Recording Industry 1890–1919, by Tim rently available). Maultsby gave a paper of his collection of commercial record- Brooks (University of Illinois Press); a titled “Marginalizing and Mainstreaming ings. Strachwitz’s Frontera Collection certificate of merit in that same category Black Popular Music: An Interpretation of 30,000-plus Mexican and Mexican- was awarded to Capturing Sound: How of Marketing Labels” at the Society American recordings is being catalogued Technology Has Changed Music, by for Ethnomusicology, Atlanta, Georgia and digitized for eventual on-line display Mark Katz (University of California (November 2005). with the help of the UCLA library system Press). Additional information about and the financial assistance of the Los ARSC, including lists of past ARSC Tigres Del Norte Foundation. Award winners and finalists, may be found at www.arsc-audio.org.

Adrienne Fried Block and John Graziano’s ambitious “Music in Gotham” project has had its funding renewed by the National Endowment for the Humanities for two years for a total of $140,000. The mission of “Music in Gotham: The New York Scene, 1862–1875” is to produce a daily record of all musical performances and their reception in a database to go on the web, and a narrative history by musi- cal genre in two volumes that looks at the broader picture. Volume I (1862–1869), a narrative history to be accompanied by a database for those years, will present not only the cogent detail but the larger pic- ture of music in New York. Co-directors Block and Graziano begin writing the first narrative history in January 2006.

Wiley Hitchcock’s critical edition of Charles Ives, 129 Songs (the American Musicological Society’s MUSA volume Autoharp aficionado David Patterson attended the annual Mount Laurel Autoharp Gathering in 12), was recently honored as one of Newport, PA, held June 22-26, 2005. Pictured here is a class instructed by Karen Daniels. For further information, see www.mlag.org. (Photo by D. Patterson.)

12 The Bulletin of the Society for American Music • Vol. XXXII, No. 1 The Bulletin of the Society for American Music • Vol. XXXII, No. 1 13 “Members” continued from page 19 “Victor Fell Yellin” continued from page 7 New Sousa Catalogue Published Eric Usner (doctoral candidate, New As many members will remember, at the Articles York University) has relocated to Vienna, time of her death in 2002 Phyllis Danner, 1971. The operas of Virgil Thompson. Austria, where he is doing a year of associate professor of library science, was In Twentieth Century Composers, vol. 1 field research as an SSRC Fellow for in the final stages of preparing a catalogue (London: Weidenfeld & Nicolson). 1982. Music around the square. In M. Cantor his dissertation “The Cultural Practice of of the Sousa Collection at the University of Illinois in Urbana-Champaign, a col- (ed.), Around the Square, 1830–1890 Western European Art Music in Vienna: (New York University Press). An Historical and Ethnographic Study of lection comprising close to three quarters of the known Sousa Band-related materi- 1983. Rayner Taylor. American Music 1/3. ‘Classical Music’ and the Viennese Racial 1990. Prosodic syncopation. In R. Crawford, als. The project, which also included Imagination” (temporarily tabling but R. A. Lott, and C. J. Oja (eds.), A not abandoning his interest in American the microfilming of the collection, was Celebration of American Music: music). He would happy to hear from col- supported in part by a grant from the Words and Music in Honor of H. Wiley leagues and to host them in Vienna; he can Division of Preservation and Access of Hitchcock (University of Michigan be reached at [email protected]. the NEH. It is a pleasure to announce Press). the publication of her work: Phyllis 1993. Sullivan and Thomson, Gilbert and Danner, Sousa at Illinois. The John Philip Stein. Journal of Musicology 9/4. Sousa and Herbert L. Clarke Manuscript 1994. Bristow’s divorce. American Music Collections at the University of Illinois at 12/3. 2002. Music in early Virginia. American Urbana-Champaign. A Catalogue of the 2005 Kurt Weill Prize to Andrea Most Music 20/4. Collections (Harmonie Park Press, 2005; The 2005 Kurt Weill Prize has been award- xxxvii + 179 pp., 10 plates). Compositions ed to Andrea Most of the University of – Susan Parisi, 1965. Abaylar. Opera in 3 acts, with libretto Toronto for her book, Making Americans: Series Editor, Harmonie Park Press by John K. Savacool. Jews and the Broadway Musical (Harvard 1979. Sonata for Violoncello and Piano. University Press, 2004). In an examination Lou Harrison Festival 1981, 1988. Variations on “Bye Bye Blues” of Broadway theater in the period 1925– The Pacific Symphony Orchestra (Carl for Violoncello or Violin and Piano. 1951, from The Jazz Singer to The King St. Clair, Music Director; Joe Horowitz, 1984. Dark of the Moon. Song cycle for and I, Most maintains that the process of Artistic Adviser) will present a Lou soprano, clarinet, and violoncello. 2002. Ten Brazilian Dances for String Jewish acculturation in America and the Harrison festival May 19–25, 2006, in Quartet. development of the Broadway musical Orange County, California (just south of are inextricably joined. Most receives a 2003. ABAYLAR Suite for Two Equal Los Angeles): Trumpets and Orchestra. prize award of $2500. Also singled out by the prize panel for honorable mention in May 19 at 8 p.m. at the Barclay Theater, the book category was Bill Egan, for his UC-Irvine: Double Concerto for book Florence Mills: Harlem Jazz Queen Violin, Cello and Gamelan; Solstice; (Scarecrow Press, 2004), a biography of a Marriage at the Eiffel Tower. remarkable African-American entertainer May 21 at 7:30 p.m. at the Orange County of the 1920s. The panel did not award a Performing Arts Center: Piano music prize in the article category. by Henry Cowell (Ursula Oppens); The Kurt Weill Prize is awarded Percussion music by Cowell, John biennially for distinguished scholarship Cage, and Harrison; Harrison: Grand on twentieth-century musical theater. The Duo (Oppens and Jennifer Koh). four-member selection panel consists of May 24 and 25, 8 p.m. at the Orange representatives from the Modern Language County Performing Arts Center: Association, the American Musicological Bubaran Robert for Trumpet and Society, the American Society for Theatre Gamelan; A Parade; Elegy in Memory Research, and the Kurt Weill Foundation of Calvin Simmons; Suite for Violin, for Music. Scholarly work first pub- Piano and Chamber Orchestra lished in 2005 and 2006 may be nomi- (Raymond Kobler and Gloria Cheng); nated for the 2007 book and article prizes. Piano Concerto (Ursula Oppens). Nominations, including five copies of the nominated work and contact information Also participating will be film-maker for the author, must be received by 30 Eva Soltes and various Lou Harrison April 2007 at the offices of the Kurt Weill Scholars. For further information: Joe th Foundation for Music, 7 East 20 Street, Horowitz at [email protected]. New York, NY 10003.

14 The Bulletin of the Society for American Music • Vol. XXXII, No. 1 The Bulletin of the Society for American Music • Vol. XXXII, No. 1 15 2007 SAM/MLA CONFERENCE CALL FOR PAPERS

Society for American Music 33rd Annual Conference

The Society for American Music invites proposals for papers, concerts, lecture-performances, and panels of 2, 3 or 4 papers for its 33rd annual conference. Alternative formats such as roundtables, position papers with respondents, workshops, and mixed performance/discussion sessions are also welcomed. Jointly meeting with the Music Library Association, the conference will be held in Pittsburgh, Pennsylvania, on 1-4 March 2007. The Email and postmark dead- line for all proposals is 1 July 2006. More information may be found at the website: www.american-music.org

We welcome proposals involving any aspect of American music or music in the Americas, but especially welcome ideas for papers and sessions inspired by the music of Pittsburgh as well as American music in American libraries. We would like to schedule at least one joint paper session devoted to one of the following suggested topics: • Music Librarianship and Research in American Music: A Collaborative Perspective • Researching the American Music Library: Then and Now • American Music Collections

Guidelines Individual or joint papers should be no longer than twenty minutes. Lecture-Performances should be no longer than thirty minutes. Presenters do not need to be members of the Society, but are required to register for the entire conference. The committee encourages proposals from people who did not present at the 2006 meeting in Chicago, but all proposals will be considered and judged primarily on merit.

For complete sessions, the organizer should include an additional statement explaining the rationale for the session. With the exception of Lecture-Performances, we prefer that all proposals be submitted via email.

Please include with your proposal submission the following materials: (1) 250 word proposal (2) 100 word abstract suitable for publication in the conference program (3) Your audio and visual needs. We can provide CD and audiocassette players and overhead projectors. With more lim- ited availability we can provide VHS/DVD players and LCD Projectors (for PowerPoint). Due to the logistics and cost of renting these media, we will not be able to accommodate any AV changes once a proposal is accepted. (4) Your name, address, phone number(s), email address, and institutional affiliation

For Lecture-Performances please include the above-mentioned materials and: (5) Six copies of a recording (CD, tape cassette, DVD, or VHS) (6) An addressed stamped mailer if you would like the recordings returned (7) Any special needs you have for your performance (e.g., a piano, music stand, space for dance demonstrations)

All materials must be electronically date-stamped or postmarked by July 1, 2006, and should be sent to: [email protected], or George Boziwick The New York Public Library for the Performing Arts 40 Lincoln Center Plaza, New York, NY 10023-7498 (212) 870-1647 Fax (212) 870-1794

14 The Bulletin of the Society for American Music • Vol. XXXII, No. 1 The Bulletin of the Society for American Music • Vol. XXXII, No. 1 15 INDEX TO VOLUME XXI (2005)

Inducted as Honorary Member,” 2: Dissertation Award,” 2:29. Compiled by Amy C. Beal 26. “Lenore Coral” (Cassaro, a), 2:22. Coral, Lenore and Paul Laird, a. “Stanley “Library of Congress Launches ‘Song of Personal names are identified as author or Kleppinger Receives 2003 Irving America’ Concert Tour” (Poxon, a), composer (a), compiler (c), editor (e), per- Lowens Award for Best Article,” 2: 3:46-47. former (p), reviewer (r), translator (t), or 28-29. “Lifetime Achievement Award Presented subject (s); recordings and videos are dif- Davenport, Michael, r. “Tom Ashley, ferentiated by the abbreviations rec or vid; to Dena Epstein” (Davidson, a), 2: numbers refer to Issue Number: Page(s). The Sam McGee, Bukka White: 27. editor welcomes criticisms and suggestions Tennessee Traditional Singers” Magee, Jeffrey, a. “Bethany Kissell for future indexes. (Burton, ed.), 3:44. Receives 2005 Mark Tucker Award,” Davidson, Mary Wallace, a. “Lifetime 2:29. “2003 Earle Johnson Bequest Publication Achievement Award Presented to “Mark J. Butler Receives 2003 Wiley Subventions” (Deaville, a), 2:29, 31. Dena Epstein,” 2:27. Housewright Dissertation Award” “2005 Distinguished Service Award “David Kraehenbuehl and his Drumfire (Key, a), 2:29. Presented to Anne Dhu McLucas” Cantata” (Burkhart, a), 1:1, 6-7. Members in the News, 1:12; 2:36; 3:59. (Wells, a), 2:27-28. Deaville, Jim, a. “2003 Earle Johnson “Musical Theatre” (Gentry, a), 2:30-31. “American Music in the Bavarian Bequest Publication Subventions,” 2: News of the Society, 1:8; 2:32-33. Countryside” (Worster, a), 1:1, 9, 11. 29, 31. “Our State Songs” (Brown, a), 1:2. “Art of the States: Bringing US Music to “Early American Music” (Butler, a), 2: Parker, Craig B., a. “George Norman the World,” 3:63. 30. Heller,” 2:20-21. Awards of the Society, 1:16; 2:40; 3:64. Eiland, Dianna, a. “Frederick Fennell,” “Pauline Oliveros Inducted as Honorary Beal, Amy, c. Index to Volume XXX 2:20. Member” (Cook, a), 2:26. (2004), 1:14-15. –––, a. “Report from the Silent Auction,” Peeples, Georgia, a. “ ‘A Becoming “ ‘A Becoming Rigour of Feminine 2:31. Rigour of Feminine Modesty’: Modesty’: Images of Women in “Folk/Traditional Music” (Pen, a), 2:30. Images of Women in Early Early Nineteenth Century America, “Frederick Fennell” (Eiland, a), 2:20. Nineteenth Century America, as as Reflected in the Euterpeiad” “Frederick Fennell (1914-2004)” Reflected in the Euterpeiad,” 2:17, (Peeples, a), 2:17, 19, 24. (Hunsberger, a), 1:4-5. 19, 24. “Bethany Kissell Receives 2005 Mark From the Editor, 2:24. Pen, Ron, a. “Folk/Traditional Music,” Tucker Award” (Magee, a), 2:29. From the President(s), 2:18. 2:30. Book Reviews, 3:44. “Gage Averill Receives 2003 Irving Pollock, Howard, a. “Gage Averill Brown, Jeff, a. “Our State Songs,” 1:2. Lowens Award for Best Book” Receives 2003 Irving Lowens Award Bulletin Board, 1:12-13; 2:36-37; 3:59- (Pollock, a), 2:28. for Best Book,” 2:28. 60, 62. Gentry, Anna Wheeler, a. “Musical Poxon, Stephanie, a. “Library of Burkhart, Charles, a. “David Theatre,” 2:30-31. Congress Launches ‘Song of Kraehenbuehl and his Drumfire “George Norman Heller” (Parker, a), 2: America’ Concert Tour,” 3:46-47. Cantata,” 1:1, 6-7. 20-21. Preston, Katherine K., a. “Standpoint: Burton, Thomas G., ed. “Tom Ashley, “Gershwin to Gillespie: Portraits in What Happened to the Nineteenth Sam McGee, Bukka White: American Music,” 3:41, 58. Century?” 3:41-43. Tennessee Traditional Singers” Gibson, Joice Waterhouse, c. Some Remembrances, 1:4-5; 2:20-23. (Davenport, r), 3:44. Recent Articles and Reviews, 3:48- Report from the Conference, 2:26-31. Busch, Julia, a. “William Busch—A 57, 63. “Report from the Silent Auction” (Eiland, British Composer in America,” 3:45. Hasse, John Edward, a. “Jazz a), 2:31. Butler, Nicholas, a. “Early American Appreciation Month,” 1:3. Romero, Brenda, a. “Sight and Sound Music,” 2:30. Hunsberger, Donald, a. “Frederick Award Presented to Brenda Camus, Raoul, a. “A Century of Fennell (1914-2004),” 1:4-5. Romero,” 2:31. Composing in America: 1820-1920,” Index to Volume XXX (2004) (Beal, c), “Sam Dennison” (Schleifer, a), 2:22-23. 1:7, 11, 13. 1:14-15. Schleifer, Martha Furman, a. “Sam Cassaro, Jim, a. “Lenore Coral,” 2:22. Interest Group Reports (Gentry, a), 2: Dennison,” 2:22-23. “A Century of Composing in America: 30-31. “Sight and Sound Award Presented to 1820-1920” (Camus, a), 1:7, 11, 13. “Jazz Appreciation Month” (Hasse, a), Brenda Romero” (Romero, a), 2:31. Conference Announcements, 1:12-13; 2: 1:3. Some Recent Articles and Reviews 38-39; 3:61-61. Key, Susan, a. “Mark J. Butler (Gibson, c), 3:48-57, 63. Cook, Susan, a. “Pauline Oliveros Receives 2003 Wiley Housewright “Standpoint: What Happened to the

16 The Bulletin of the Society for American Music • Vol. XXXII, No. 1 The Bulletin of the Society for American Music • Vol. XXXII, No. 1 17 Nineteenth Century?” (Preston, a), 3: “SAM/CBMR Conference” continued from is a performance of Mahler’s Second 41-43. page 1 Symphony, with Michael Tilson Thomas, “Stanley Kleppinger Receives 2003 conducting, and the amazing young Irving Lowens Award for Best Of course, there will also be the soprano, Celena Shafer. Discounted Article” (Coral and Laird, a), 2:28- traditional shaped-note sing on Thursday tickets for this performance may be 29. evening, and the SAM Brass Band ordered on the registration form. Student Forum, 1:10; 2:25; 3:47. performance on Saturday during the Perhaps the easiest attraction to the “Tom Ashley, Sam McGee, Bukka reception. Musical abilities at all levels conference is the city itself. Chicago is a White: Tennessee Traditional are welcome to participate. hub of American music in all its diverse Singers” (Burton, ed.; Davenport, r), As described in this issue of the forms. There are numerous venues in 3:44. Bulletin, the Frederick R. Selch Collection which to listen to all kinds of music just a “University of Pennsylvania Library will be on exhibit during the conference short distance from the conference hotel. Preserves Philadelphia Orchestra at the University of Chicago’s Regenstein The Westin River North is directly across Recordings,” 3:43. Library. There will be a sign-up sheet the street from the House of Blues, which Wells, Paul, a. “2005 Distinguished at the conference registration desk for features a famous Gospel brunch on Service Award Presented to Anne those wishing to take a shuttle to visit the Sundays. The hotel is located in the heart Dhu McLucas,” 2:27-28. exhibit. of the business and theatre districts, steps “William Busch – A British Composer in There will be three conference- away from a variety of entertainment America” (Busch, a), 3:45. sponsored tours on Friday afternoon: a venues, restaurants, and art galleries, “William H. Tallmadge” (a, anon.), 2: tour of the sites of historic blues and jazz and features scenic views of the Chicago 21-22. venues and recording studios; a tour of River. Worster, Larry, a. “American Music in Chicago-area Black Music repositories While the weather will likely be the Bavarian Countryside,” 1:1, 9, and collections; and a tour of the wintry, there will be wonderful musical 11. Auditorium Theater, led by Mark Clague. experiences indoors. We hope you will Also available on Friday afternoon join us in Chicago.

Don’t Miss the SAM/CBMR Conference 15-19 March 2006

Chicago, Illinois Westin River North Hotel

Information and online registration available at www.american-music.org or www.cbmr.org

16 The Bulletin of the Society for American Music • Vol. XXXII, No. 1 The Bulletin of the Society for American Music • Vol. XXXII, No. 1 17 AWARDS OF THE S OCIETY Irving Lowens Memorial Awards Student Travel Grants Further information is available at the The Irving Lowens Award is offered by Grants are available for student members website (www.american-music.org) or by the Society for American Music each who wish to attend the annual conference contacting the SAM office. year for a book and article that, in the of the Society for American Music. These judgment of the awards committee, makes funds are intended to help with the cost H. Earle Johnson Bequest for Book an outstanding contribution to the study of travel. Students receiving funds must Publication Subvention of American music or music in America. be members of the Society and enrolled at Self-nominations are accepted. Application a college or university (with the exception This fund is administered by the Book deadline is February 15th. of doctoral students who need not be Publications Committee and provides formally enrolled). Application deadline two subventions up to $2,500 annually. is January 1. Application deadline is November 15th. Wiley Housewright Dissertation Award Mark Tucker Award Non-Print Publications Subvention This award consists of a plaque and cash award given annually for a dissertation The Mark Tucker Award is presented at This fund is administered by the Non-Print the Business Meeting of the annual SAM Publications Committee and provides that makes an outstanding contribution to American music studies. The Society conference to a student presenter who has annual subventions of approximately written an outstanding paper for delivery $700-$900. for American Music announces its annual competition for a dissertation on any topic at that conference. In addition to the relating to American music, written in recognition the student receives before the English. Application deadline is February Society, there is also a plaque and a cash 15th, for dissertations completed between award. 1 January and 31 December of previous year.

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18 The Bulletin of the Society for American Music • Vol. XXXII, No. 1