George W. Chadwick The Bulletin Sesquicentennial — Jean Morrow, Marianne Betz OF THE S OCIETY FOR A MERICAN M USIC FOUNDED IN HONOR OF O SCAR G . T . S ONNECK The New England Conservatory Vol. XXX, No. 2 Spring 2004 of Music (NEC) in Boston and the Hochschule für Musik und Theater “Felix Mendelssohn Bartholdy” Leipzig have announced plans to Dvořák in Love (with Nashville) celebrate the 150th birthday of George W. Chadwick commencing — Dale Cockrell, Vanderbilt University in November 2004. Born in Lowell, Massachusetts on 13 November This year marks the centenary of that will move into a state-of-the-art 1854, Chadwick received his serious Antonín Dvořák’s death. The anni- $125 million concert hall in 2006. musical training at the Hochschule versary would not be worth much Further, the NSO has made as its sig- during the late 1870’s. He served as remark at this conference but for the nature the performance of American Director of NEC from 1897 till 1930, period from September 1892 to April music. It has recorded ten CDs for the one year before his death in 1931. 1895 when Dvořák was director of the Naxos “American Classics” series, NEC is one of the major archives for National Conservatory of Music in the most of any orchestra, in addi- the study of Chadwick’s music and New York City. And those three years tion to a highly praised Dvořák New recently received a significant new would be worthy of only slightly World Symphony, paired with David collection of source materials that had more remark but for the extraordinary Amram’s Kokopelli. The NSO is a been unavailable since 1932. influence that Dvořák exerted on, natural partner with any festival on NEC plans to mark the compos- first, his students and their generation Dvořák. er’s sesquicentennial with a series of of composers and, ultimately, much The question is then, “How best performances of his music through- American composition to the very to celebrate Dvořák’s work and pres- out the year. Birthday festivities will present. ence in America and his influence and begin on 15 November with an after- So, festivals are a-loose in the significance?” First, I suppose, by noon colloquium and evening con- land—at least six of them—kicked writing grant applications and hoping cert to which the public is cordially off in January by one mounted by The for financial support. In this regard, invited. Speakers at the colloquium New Jersey Symphony Orchestra. It the NSO has benefited from funding will include Chadwick specialists will not be a shock to you that the by the National Endowment for the Marianne Betz, Bill Faucett, Steven guru behind this festival and several Arts for the Dvořák festival, funding Ledbetter and Victor F. Yellin. The of the others during the year is the that was in large part the result of evening concert will include scenes estimable Joseph Horowitz, scholar, innovative planning and a cooperative from the composer’s opera The musician, “consultant and coordina- venture between the orchestra and the Padrone. Details for activities at NEC tor,” and friend. community. are available at their website www.ne Nashville is one of the cities plan- How else to celebrate Dvořák? wenglandconservatory.edu. ning its own festival. Allegedly, some Most obviously through concerts In Leipzig the university library are surprised to learn that Music City of his music. And most most obvi- will host an exhibit organized by U.S.A. is more than guitars, black hats, ously by programing the New World Marianne Betz, and supported by the and pick-up trucks. The Nashville Symphony, which Dvořák wrote self- university library, the Hochschule Symphony Orchestra is a top ech- evidently of, for, and by the American and the Leipzig American consulate. elon, full-time professional orchestra people. Thus the NSO will give two Opening on 23 November 2004 the continued on page 18 continued on page 34 F ROM THE P RESIDENT Deane Root, is working to structure Meanwhile, we are setting our Dear Fellow Members, sound fiscal girders for the future. sights on next year’s conference at Their immediate goal is to fully fund the University of Oregon in Eugene. Our recent conference in the endowments underwriting our We will be honoring the esteemed Cleveland–jointly held with the annual awards. As of the Cleveland avant-garde composer Pauline Association for Recorded Sound conference, that goal was reached for Oliveros, who will present a concert Collections–was a resounding suc- the Wiley Housewright Dissertation of her music as well as a workshop cess. Many people labored to make Award and the Mark Tucker Award, in “Deep Listening,” her distinctive it so, especially Mary Davis, Local but there are many more prize funds fusion of improvisation, myth, and Arrangements Chair; Rob Walser, requiring attention. meditation. Once again, we will have Program Chair; Mariana Whitmer, We have miles yet to travel. There the privilege of exploring the musical SAM’s Executive Director; and Jim are several ways you can help. First, traditions of the West Coast. Hines, Conference Manager. This if you haven’t already renewed your past year has shown me in day-to- membership, do so immediately; and Sincerely, day detail what I vaguely realized if you’re a newcomer to our midst, Carol J. Oja, President before–that an extraordinary amount please join. While the number of of dedicated volunteerism goes into people attending conferences contin- New Bulletin Editor Sought keeping an organization like SAM ues to grow, our membership rolls The Society is seeking a new afloat. are not keeping pace, so please tend Editor for the Bulletin to be respon- As a society, now firmly launched to this critical bit of business. Second, sible for managing the overall content into a new century, we are in a period consider making a contribution to and compilation of the Bulletin. This may include soliciting short articles, of disciplinary health. The number of SAM, whether large or small. You can in addition to the collection of reports new faces continually increases at our designate it to support a specific prize and announcements of interest to the conferences, especially those of grad- endowment or student travel to con- membership. The responsibilities of uate students, while the sheer volume ferences. Third, consider remember- typesetting, printing, and mailing of the of scholarly activity in a broad spec- ing SAM in your estate. Our Merrill Bulletin will continue to reside with the trum of American musics increases Lynch representative gave a seminar Society office. Individuals who would unabated. It is a pleasure to welcome on planned giving in Cleveland, like to take an active role in assisting the Society as we develop this important a continually refreshed stream of showing that there are significant tax publication are asked to contact Paul young people into our midst. At the benefits to remembering SAM, as well Wells via email: [email protected] or by same time, we are reaching out to our as ingenious strategies for simultane- phone: (615) 898-2449. Questions may founders, grateful for their foresight ously keeping assets intact for family. also be directed to Mariana Whitmer in shepherding the Society into exis- He is available at any time to answer ([email protected] or (412) tence. At the Cleveland conference, questions. 624-3031. we inaugurated the Sonneck Circle, which has been designated simultane- ously to honor founding members and The Bulletin of the Society for American Music serve as a fundraising tool, and the The Bulletin is published in the Winter (January), Spring (May), and Summer (September) board has launched the Society for by the Society for American Music. Copyright 2004 by the Society for American Music, American Music’s History Project, ISSN 0196-7967. under the leadership of Denise Von Glahn. Editorial Board Interim Editor...... Mariana Whitmer ([email protected]) While our organizational and intellectual health remains strong, Bibliographer ...... Joice Waterhouse Gibson (gibsonjw@colorado.edu) our coffers are porous, as we face Indexer ...... Amy C. Beal ([email protected]) the same financial pressures affect- Items for submission should be addressed to Mariana Whitmer, Society for American ing other not-for-profit enterprises Music, Stephen Foster Memorial, University of Pittsburgh, Pittsburgh, PA 15260. All mate- in the current economic climate. Our rials should be submitted in printed copy, on disk, or as attachment to e-mail. Photographs Development Committee, led until or other graphical materials should be accompanied by captions and desired location in the recently by Ann Sears and now by text. Deadlines for submission of materials are 15 December, 15 August, and 15 April.
14 The Bulletin of the Society for American Music • Vol. XXX, No. 2 The Bulletin of the Society for American Music • Vol. XXX, No. 2 15 R EMEMBRANCES on the book, the author replied with preceding fortnight. This practice of characteristic modesty, “Yes, but a Daniel Kingman combining professional and recre- textbook’s no better than the teacher ational activities was usual for them, — William Kearns using it.” and wherever they went throughout Although Dan wore many profes- the world, Dan would talk with local sional hats, he remained foremost a Dan Kingman was born and composers and attend regional music composer. He wrote in a variety of reared in southern California. He activities. We always looked forward media: opera, ballet, symphony orches- received a bachelor’s degree, magna to seeing the Kingmans at our annual tra, band, chorus, chamber music, and cum lauda, from Pomona College Sonneck Society meetings. songs. He saluted California and the in 1949 and a master’s degree from Eastman in 1952. During the early Southwest with such compositions as 1950s, he taught at various Eastern The Golden Gyre, based on the letters schools and began doctoral studies at of the 49ers and The Hills of Mexico, Michigan State University, completing a concerto grosso for fiddle, banjo and his Ph. D. there in 1967. Meanwhile orchestra rich in folk songs. He was he accepted a position at California also a composer for other regions, as is evident in Appalachian Harmony, State University in Sacramento in Wiley Housewright 1956 where he taught until his retire- for children’s chorus and instrumental ensemble. ment in 1984. He and his wife Louise — Denise Von Glahn remained in Sacramento, where they Much of his music was written reared their three children. with certain performers in mind. His As read in Cleveland, OH at the Past President Paul Wells has three string quartets were inspired by Annual Conference of the Society for noted that Dan was a “longtime loyal the Kronos Quartet. Other works were American Music, March 2004. member” of our Society. He partici- commissioned by the Sacramento and pated in nearly every conference from Camillia Symphonies, and individu- I first met Wiley Housewright the early 1980s until the late 90s. He als and groups throughout California in 1998 as I haltingly negotiated a served a term as a Board member and the country. His music has a pol- steep slope of a gravel parking lot at and was the program chair and did ish and temperament suggesting the Florida State University. Wiley glided many of the local arrangements for neo-classic style of Walter Piston. His effortlessly over the same surface, the memorable Pacific Grove, CA, “American” features could be as bla- stopping at the most severe angle Conference in 1993. tant as a rowdy hoe-down or as subtle of the driveway to wait for me, to Catherine Smith, of the University as the recondite paraphrasing found in say hello, to introduce himself, and of Nevada at Reno, has described his Ivesian Fantasy-Mosaic: Homage to welcome me to FSU. I’d recently Dan as “a man of many interests and to Stephen Foster. been hired and was in town to find a skills.” She recalls that in the early Dan Kingman’s talent, intellect, place to live before actually moving 1970s, when he was the principal bas- and drive resulted in an outstanding there. He’d “heard all about [me]” soonist in the Sacramento Symphony, career—creating, performing, and he said, had read my work, and was he would cross the Sierras periodi- writing about music. He also had “so glad they’d finally gotten a real cally to fill out the orchestra for the warmth, generosity, and a sincere Americanist.” Only later would I Nevada Opera Company. From 1977 interest in others. We will miss his learn that my hire was the result of to 1989, Dan was conductor of the broad smile, his friendly demeanor, a campaign he’d initiated fifty years Camllia Symphony, a very good and the example he set in his dedica- earlier to carve out a place for the amateur orchestra in Sacramento. His tion to music. serious study of American music. teaching of American music courses My wife Sophia and I first met Wiley took the long view, and he was at UCS led him to write American Dan and Louise at the 1983 American a patient man. Music: A Panorama. First published Music Conference held in Keele, It was May, and I was wilting in in 1979, it has been widely received England. At the opening reception, the humid heat of an early afternoon and acclaimed. When SAM member we learned that they had been hiking in the English countryside during the George Ferencz complemented Dan continued on page 16
14 The Bulletin of the Society for American Music • Vol. XXX, No. 2 The Bulletin of the Society for American Music • Vol. XXX, No. 2 15 it on the top of the stack of books by was a member of the Committee of “Remembrances” continued from page 15 his reading chair and promised to start the American Council of Learned it that evening. We spent forty-five Societies, and the U.S. National in Tallahassee; Wiley looked crisp and minutes chatting about music. Commission for UNESCO. He was fresh, in his jacket, tie, and perfectly Wiley had joined the FSU faculty chair of the Graduate Commission of pressed white shirt. He asked how in 1947 and immediately instituted the National Association of Schools people were treating me; was there a graduate course in jazz. His work of Music, a member of the executive anything I needed; and then explained with Carleton Sprague Smith at NYU board of the College Music Society, that he was just heading to his office had turned him into a committed and president of the Music Educators to finish up a little work on a book. Americanist long before such a breed National Conference. In that capac- He apologized for the late hour of his existed in musicology. Wiley fought ity, in 1969, he made national head- arrival at the university but hoped I’d with less progressive faculty who lines when he suggested in a talk forgive a man his age for taking a little couldn’t understand why, given all before the National Press Club that longer to get up and out each day. (He the music to choose from, he needed a rock-music festival be held on the was 85 years old.) His energy and to teach jazz. He held his ground, White House lawn. Had it been in friendliness were contagious. His however, and wore them down. his power, he would have seen that it genuine interest in my well being took Today a burgeoning jazz studies pro- happened. me by surprise: I’d never met the man. gram is a testament to his tenacity. In This past November, I spent an Our brief encounter in that parking lot February this year musical polymath afternoon with Wiley. I wanted to marked the beginning of a wonderful Bobbie McFerrin spent a three-day hear his thoughts about the early days friendship. We immediately fell in residency on campus courtesy of the of the Sonneck Society and he was “like.” Housewright Eminent Scholars series. eager to share them: “I’ve got to tell Over lunches, dinners, and tele- Wiley would have loved it. A Center you,” he confided, “of all the societ- phone conversations, during intermis- for Music of the America’s and a cer- ies I’ve belonged to over the years, it sions at concerts, and in the hallways tificate program in the same at FSU was the Sonneck Society, the Society at the university, Wiley pumped me are indirect legacies of his vision. for American Music that I liked best for information on what I was doing. Over the years Wiley taught almost of all.” He believed that this society “How was that article coming?” every course the School of Music was trying to do something impor- “When would the book be out?” Tell offered. He gained a reputation as a tant, something that mattered. He him more about Leo Ornstein, he’d choral conductor and a music educa- recalled some wonderful moments “never heard of him.” Wiley would tor. In 1966 he was appointed Dean he’d shared with its members . . . make presents of articles that he of the School of Music, a position he and, he winked, “they knew how to thought I’d enjoy—everything from held until his retirement in 1979. But have a good time.” Late that same one on Benjamin Franklin’s glass his “retirement” was only an opportu- November evening, the phone rang harmonica that appeared in a South nity to change gears and do what he and it was Wiley; he called to say just Dakota music educator’s newsletter, to claimed he loved more than anything how much he’d enjoyed our conver- a special issue of US News and World else: research American music. sation, and to reiterate how much the Report that was devoted to Elvis. I’d In 1991 at the age of 78, Wiley Sonneck Society had meant to him. get phone calls suggesting I turn on published his first scholarly book, Wiley knew what he liked. the TV, there was something he knew A History of Music and Dance in In 2000 Wiley Housewright I’d want to see. He read broadly and Florida, 1565-1865; eight years later, endowed an award to be given by voraciously. His mind never stopped. in 1999 at age 86, he followed it with the Society for American Music to He attended a world music concert just a companion anthology. That’s what the newly minted Ph.D. who’d writ- three weeks before he passed away he had been working on when we ten the best doctoral dissertation of and pronounced it a “big, great, noisy met in that parking lot. Just this past the year. It was the perfect outlet affair!” Two weeks before Wiley died, December he was editing a collection for Wiley, a way he could announce, he called a colleague at 10 PM to con- of children’s songs. encourage, and support his twin pas- gratulate him on the concert that had Wiley had been a Fulbright Scholar sions: scholarship and education. His just been broadcast on the university’s in Japan; and an advisor to both the deep affection for this Society will cable channel that had featured that Ford Foundation and the Carnegie endure through this award, just as colleague’s ensemble. A week before Foundation. He went to South America his love for music of all kinds will his passing, I dropped by a copy of my for the U.S. Department of State; he continue to be felt by thousands of book, and he gleefully grabbed it, put
16 The Bulletin of the Society for American Music • Vol. XXX, No. 2 The Bulletin of the Society for American Music • Vol. XXX, No. 2 17 students and faculty at Florida State (1976 and 1978). Professor of Music History, 1965- University where lecture series, Although his earliest scholarly 69; Associate Professor of Music recital series, visiting artist series, efforts were in the field of 18th-century History, 1965-75; and Professor of library collections, and facilities are English music,(1) Bunker soon saw Music History, 1975-93). He was just the most obvious reminders of the error of his ways and became a also Visiting Lecturer in Musicology his legacy. staunch Americanist. He authored at the University of Michigan in the “There’s music for everyone” or co-authored five books, the most summer of 1970. Before being named Wiley said, and he believed it, and important of which is the invaluable Professor Emeritus at KU in 1993, he he acted on it. And anyone who ever “Bringing American Music Home,” directed 27 theses and dissertations, knew him is richer for the encounter. originally published by the Sonneck and also led two National Endowment We will miss him. Society in 1991 and distributed to for the Humanities Summer Seminars for College Teachers on “Music in the continued on page 18 United States Before the Civil War” J. Bunker Clark The Society for American Music The Society for American Music promotes research, educational projects, and the dissemination of infor- — Craig Parker mation concerning all subjects and periods embraced by the field of music in American life. Individual and institutional members receive the quarterly journal American Music, the Bulletin, and the annotated Membership Directory. Direct all inquiries to The Society for American Music, Stephen Foster Memorial, 26 December 2003 was a sad day University of Pittsburgh, Pittsburgh, PA 15260; (412) 624-3031; [email protected]. for American music, for that was the Officers of the Society day that J. Bunker Clark (born 19 President ...... Carol Oja President-Elect ...... Michael Broyles October 1931; Detroit) died of cancer Vice President...... Ron Pen at Lawrence Presbyterian Manor in Secretary...... R. Allen Lott Lawrence, Kansas. Professor, scholar, Treasurer ...... George Keck editor, church musician, U. S. Army Members-at-large...... Susan Key, Gayle Murchison, Vivian Perlis, Denise Von Glahn, Wayne Shirley, Josephine Wright Counter Intelligence officer (1954- Editor, American Music...... David Nicholls 56, with duty in Korea), jokemeister, Editor, SAM Website ...... Larry Worster and former member of the University Executive Director ...... Mariana Whitmer Conference Manager ...... James Hines of Kansas Parking Board (1990-92), Standing Committee Chairs: Bunker influenced virtually everyone Finance: William Everett; Long-Range Planning: Paul Wells, Development: Deane Root, Honors and in the Society for American Music. Awards: Dale Cockrell, 2003 Lowens Award (Book): Howard Pollack, 2003 Lowens Award (Article): Bunker earned three degrees Lenore Coral, Housewright Dissertation 2003: Susan Key, Mark TuckerAward : Jeffrey Magee, Membership: Karen Bryan; Conference Site Selection: Kay Norton; Nominating: Katherine Preston; Public Relations: from the University of Michigan Liane Curtis; Book Publications Subvention (Johnson Bequest): James Deaville, Silent Auction: Dianna (B.M. in theory, 1954; M.Mus. in Eiland; Publications: Paul Wells theory, 1957; and Ph.D. in musicol- Appointments and Ad Hoc Committees: ogy under advisor Louise Cuyler, ACLS Delegate: Dale Cockrell;Archivist: Susan Koutsky; Committee on Publication ofAmerican Music: Judith McCulloh; US-RILM Representative: Denise Von Glahn; Registered Agent for the District of 1964). He also studied at Harvard Columbia: Cyrilla Barr (summer 1958 with Gustave Reese) Interest Groups: and Jesus College, Cambridge American Band History: Susan Koutsky; American Music in American Schools and Colleges: Christine University, England as a Fulbright de Catanzaro and James V. Worman; Folk and Traditional Music: Ron Pen; Gay/Lesbian/Bisexual/ Transgendered: David Patterson; Gospel and Church Music: Roxanne Reed; Historiography: Michael Pisani; scholar (1962-63 with Thurston Music of Latin America and the Caribbean: Paul Laird; Musical Biography: Stuart Feder; Musical Theatre: Dart). Anna Wheeler Gentry; Popular Music: Kirsten Stauffer Todd, Philip A. Todd; Research on Gender and His professorial career included American Music: Liane Curtis; Research Resources:Alisa Rata; EarlyAmerican Music: David Hildebrand; 20th Century Music: David Patterson teaching positions at Stephens College in Columbia, Missouri, where he was Electronic Resources Instructor of Theory and Organ (1957- Listserv: [email protected] Website: http://www.american-music.org 59); the University of California, Santa Barbara, where as Lecturer in Annual Conferences music he taught music history, harp- 31st Annual Conference, Eugene, Oregon Judy Tsou, Program Committee Chair sichord, and piano (1964-65); and Anne Dhu McLucas, Local Arrangements Chair the University of Kansas (Assistant November is AMERICAN MUSIC MONTH
16 The Bulletin of the Society for American Music • Vol. XXX, No. 2 The Bulletin of the Society for American Music • Vol. XXX, No. 2 1 7 “ Remembrances” continued from page 17 “Dvorak” continued from page 13 Lawrence Chamber Players (1994- 2003), acting as both secretary concerts in their downtown concert all musicologists and music history (1999-2003) and treasurer (2001-3) hall featuring the New World, linked teachers in the U. S.(2) for the Lawrence Chamber Orchestra, with the Cello Concerto (b minor), The most significant scholar editing 84 books by other authors, which Dvořák also wrote in the on antebellum American keyboard selling books for Harmonie Park United States. music, he produced five antholo- Press, editing the “Bob-Lo Tatler” Towards enrichening that experi- gies of this repertoire.(3) Bunker (The Newsletter of the Bois Blanc ence, concertgoers will also be invited also wrote 25 dictionary articles, Island [Michigan] Association, 1997- to attend “Pre-Concert” events. Joe 22 reviews, 23 scholarly papers, 2003), or e-mailing countless jokes will be the host. More than just a and 13 half-hour radio programs on to friends, Bunker was an active pre-concert talk, this event will fea- “Early American Keyboard Music” member of a social organization of ture music-making. A singer from (for KANU-FM, broadcast in 1975 retirees.Delicately referred to in his Vanderbilt’s Blair School of Music and again in 1978-79). His 31 peri- obituary(6) as the Lawrence O. F. will perform Dvořák’s “Lass mich odical articles appeared in a variety Club, they met weekly at the Free allein,” a song whose melody appears of significant journals, most notably State Brewery to tell tales, sing, and twice in the concerto with important our “Newsletter”/”Bulletin” and drink beer. Bunker even harmonized programmatic intent. A student cellist “American Music.” Only a scholar the club’s raucous official anthems from the Blair School will show how with the wisdom and wit of a Bunker (“Bring the Beer and Join the the melody is woven into the concer- Clark could untangle the biographical Party” and “Boy, Oh Boy, Can We to; Joe will tell us why it’s there. The confusion surrounding the British/ Sing”).(7) Blair School, in addition to its fine American composer Anthony Corri, Those who knew Bunker well collegiate program, also has a highly also known as Arthur Clifton,(4) or remember his humorous outlook on regarded Pre-Collegiate music pro- once again bring into focus the justly- life and his love of laughter. Many of gram, one that draws young students forgotten Esee J. Mushrush.(5) us eagerly opened our e-mail accounts from two hundred or more miles from Bunker was active in many every day, anticipating the jokes that Nashville. One of our high-school societies, but none was more dear to Bunker might have forwarded us. I’d aged violin prodigies will team with him than the Society for American like to conclude this tribute by relat- a pre-collegiate peer to perform the Music. A founding member, he was ing the last joke that Bunker sent me “Larghetto” from the Sonatina for chairman of the program committee before going into the hospital for the Piano and Violin. (Since the piece for the 1980 Baltimore meeting and last time. is dedicated to Dvořák’s children, was local arrangements chair for the If you had bought $1000 worth who also premiered it, the age pair- 1982 conference in Lawrence. Our of Nortel stock two years ago, ing is entirely appropriate.) The publicist for a decade (1981-91), you would now have $149. With “Larghetto” develops programmati- he also served on the Committee Enron, you would have $16, with cally the character of Minnehaha from on American Music in American WorldCom, you would have less Longfellow’s The Song of Hiawatha. Schools and Universities (1983-94) than $5 left. If you had bought $1000 The link is to the middle movements and the Publications Committee worth of beer, drank all the beer, and of the New World Symphony, which (1988-91). Editor of the member- then turned in the cans for the 10-cent Dvořák himself told us were inspired ship directory (1989-94), Bunker deposit, you would have $214. Based by Hiawatha, a poem that Dvořák was elected a member of the Board on this, Bunker’s investment advice knew in Czech translation even before of Trustees (1979-82), and Secretary is to drink heavily and recycle. He he came to America. (1983-87). He liked to joke that he called this his 401 Keg program. As the Sonatina, New World, and fulfilled his duties as our Second Vice In remembrance of his contribu- other pieces suggest, Dvořák’s impor- President (1992-94) either so well or tions to SAM, to music in America, tance is in articulating and developing so poorly that the position was abol- and to his love of life and laughter, the consciousness that is now practi- ished during his term. In 1998, Bunker let us all contribute to a 401 Keg cally innate in our imaginations and deservedly received our Distinguished program and drink a toast to our historiographies: that our national Service Citation. colleague, J. Bunker Clark. musical ethnicities are foundational While not engaged in his to our national musical riches. own scholarly pursuits, serving as This notion lies behind the most harpsichord/continuo player for the innovative aspect of the Nashville
18 The Bulletin of the Society for American Music • Vol. XXX, No. 2 The Bulletin of the Society for American Music • Vol. XXX, No. 2 19 Dvořák festival—two “Interplays” Horowitz, Cockrell, and Paul Kwami a veritable potpourri of Americana: (a term and concept coined by Joe (director of FJS) will try and make cakewalk, Stephen Foster, native Horowitz), one on 28 September sense of the juxtaposition. A second American music, and programmatic and one on 10 October 2004; both set by the FJS will be framed by a representations of the expansive vast- to be held in a new 600-person hall performance of the concert spiri- ness that Dvořák experienced during at “uptown” Vanderbilt University. tual “Goin’ Home” by William Arms his time in the prairies of the American These will be “interplays” between Fisher, a student of Dvořák’s at the Midwest. A letter from Dvořák speak- music and commentary, sound and National Conservatory. The melody, ing to that effect will be read before image, the NSO and the Blair School, of course, is that of the “Largo” from the performance of the expansive professional and amateur, performers the New World Symphony, drawing vastness of the “Andante.” and audience, the musician commu- the circle complete. The last Interplay is only slightly nity and the music-loving community. “Negro melodies” to Dvořák also less complex. Titled “Dvořák’s Each will be, as Joe puts it, “seeming- included that which we would today American Accent,” it will explore ly casual, but shrewdly structured.” call minstrel songs. A set of Stephen his American styles and influences, Dvořák wrote in 1894 that “A Foster minstrel songs, including such as native American music, and while ago I suggested that inspiration “Old Folks at Home” (which Dvořák trace some of the ways in which for [a] truly national music might be affectionately transcribed for chorus Dvořák’s exploitation of American derived from the negro melodies or and orchestra), performed by musi- idioms influenced subsequent music. Indian chants. I was led to take this cians from the Blair School, will give A “Prelude” to the evening will view by the fact that the so-called sound to the idea. A performance of feature a performance of Dvořák’s plantation songs are indeed the most the minstrel tune that closes Dvořák’s “American Quartet” (F major; com- striking and appealing melodies that American Suite, newly arranged and posed in Spillville, Iowa) by a student have yet been found on this side of set to a new text by Joe Horowitz, will string quartet from the Blair School. A the water, . . .”1 The first Interplay inscribe and draw the line from Foster full performance of the “Sonatina for is concerned with the “negro melo- to Dvořák. Commentary by Horowitz, Violin and Piano” by pre-collegiate dies.” Cockrell, and guest Tom Riis will offer artists begins the Interplay proper. To many Americans in the blinding illumination. The line will But not before commentary on how 1890s, the “negro melodies” were the be extended beyond Dvořák with the Longfellow’s immensely popular The slave songs, or spirituals, first made performance by voice students from Song of Hiawatha gives substance and famous by the Fisk Jubilee Singers. the Blair School of a set of songs with structure to the “Larghetto,” and how So, where better to start a program dialogue from Will Marion Cook’s In the finale evokes old-time fiddling today on negro melodies than with Dahomey, the all-black musical pre- styles. Vanderbilt scholar and writer performances by the Fisk Jubilee miered in 1903. Cook, of course, was Cecelia Tichi will join Horowitz and Singers, an ensemble still journey- yet another African American student Cockrell in the discussion. Visual ing forth from its Nashville home of Dvořák’s, a musician who in turn material might also be employed. campus to sing the world over, the tutored Duke Ellington. Tom Riis will After the Sonatina, attention turns to extraordinary music many Americans be the voice of authority that contex- Arthur Farwell, the Minnesota-born first heard in the early 1870s. The tualizes the music. composer who answered most direct- Fisk Singers still sing in a more-or- So that we don’t forget, Dvořák’s ly Dvořák’s call to weave the spirit of less traditional style. An extension music will itself anchor the evening. native American music into America’s of that style was brought about by A Blair School faculty pianist (who musical tapesty. His “Pawnee Horses” the African American baritone and holds a graduate piano performance and “Navajo War Dance No. 2” will be composer Harry Burleigh, who was degree from the University of performed as will, I hope, a couple of encouraged to do so by Dvořák; thus Illinois, but also concertizes widely his “Indianist Choruses” by the Blair was born, midwifed by Dvořák, the on the accordion and is a member Collegium. Followed by commentary. “concert spiritual,” a kind of art song. of a Nashville-based jazz duo) will Then to George Chadwick, and a A performance by the FJS of “Deep perform the Humoresques #4 and #7 performance of two movements (3 & River” in the traditional style will and the piano version of the American 4) from his String Quartet No. 4 by be contrasted with Burleigh’s justly Suite. The former show the strong the Blair String Quartet. Chadwick’s renowned “Deep River,” as sung influence of African American music music, from 1893, was something of by a member of the voice faculty of on Dvořák’s style, especially in the the Blair School. Commentary by cakewalk rhythms, while the latter is “Dvorak” continued on page 33
18 The Bulletin of the Society for American Music • Vol. XXX, No. 2 The Bulletin of the Society for American Music • Vol. XXX, No. 2 19 S TUDENT F ORUM The Society for American Music From the Conference... is pleased to welcome these new members: sessions, which are devoted entirely to The recent meeting in Cleveland issues relating to students, from once demonstrated that the state of the every two years to an annual event. SAM Student Forum is strong and is Glenn Broadhead, North Riverside Il Any suggestions regarding topics Stephanie Tingler, Winder GA continuing to grow. and/or speakers for next year’s panel Carolyn Guzski, New York NY The annual SAM Student Forum are welcome and should be directed, Alfred Blatter, Media PA dinner, held on Friday night at a before 15 June 2004, to Laura Moore Sebronette Barnes, Coatesville PA nearby restaurant, drew over thirty Amy Wooley, Williamsburg VA Pruett ([email protected]) or Nathan Bowers, Pittsburgh PA student members. This event becomes Travis Stimeling ([email protected] Jason Stanyek, Richmond VA more popular every year as our stu- c.edu). Michael Saffle, Blacksburg VA dent members discover that the din- Caitlin Hunter, Bloomington IN ner is a chance to meet and interact Patrick Burke, University City MO with people with similar interests, Thank you, donors! Robynn Stilwell, Great Mills MD Matthew Malsky, Worcester MA goals, and desires, as well as a place As one of the recipients of the Dale Chapman, New Brunswick CANADA to discuss the challenges and rewards Society for American Music Student James Deaville, Ontario CANADA of student life. Travel Endowment, I would like to Scott Schwartz, Urbana IL The SAM Student Forum break- personally thank all of those who Shinobu Yoshida, Ann Arbor MI Kathleen Haefliger, Chicago IL fast, held on Saturday morning at the contributed to the fund and those that William E. Anderson, Cleveland OH conference site, provided an oppor- participated in the silent auction. I Melinda Russell, Northfield MN tunity for recipients of the Student am a new student member of SAM, Kara Yoo, New York NY Travel Award to meet and thank the and I found this past conference in Karen Fosheim, Cleveland MS generous donors who make this award Ashley Boughton, Urbana IL Cleveland to be valuable, enriching, James Busby, Brooklyn NY possible. In addition to these contri- and energizing. It was both the first Mark Doerries, New York NY butions, the Student Travel Award is SAM conference I have attended and Dan Qin, Hamilton, Ontario CANADA also made possible by the proceeds my first opportunity to present a paper Marc Bernstein, Toronto CANADA from the annual Silent Auction, which at a national conference. It was truly Gayle Sherwood Magee, Bloomington IN Rose Theresa, Charlottesville VA is coordinated by Dianna Eiland. The a valuable experience. The Society’s James Wierzbicki, Ann Arbor MI Forum would like to express their commitment to developing young Daniel Grimminger, Pittsburgh PA gratitude to all of the people who scholars is evident not only in the Travis Jackson, Chicago IL continue to support this fund. The establishment and sustenance of the Benjamin Piekut, San Diego CA continued presence of the Student Ivan Raykoff, New York NY Student Travel Endowment, but also Yeejoung Son, New York NY Travel Award allows our student in the substantial number of student Richard Kitson, Baltimore MD membership to continue expanding papers programmed for the confer- Lorenzo Candelaria, Austin TX and helps to ensure the persistence of ence. The many scholars I was able Georgia Peeples, Akron OH the Society. to meet provided friendly, respectful David Berry, Cincinnati OH Ava Lawrence, Boston MA The SAM Student Forum co- encouragement, and the overall atmo- Leanne Wetherell, Ithaca NY chairs, Laura Moore Pruett and Travis sphere of the conference had a strong Mark Buford, New York NY Stimeling, in conjunction with outgo- sense of community. I’m sure I speak Robin Rausch, Silver Spring MD ing co-chair Maria Cizmic, have also for all of those who received funding Robert Petrilla, Roosevelt NJ been working on plans to expand the Diana Hallman, Lexington KY to travel to the conference when I say James Leve, Flagstaff AZ role of the Forum within the Society how thankful I am to the Society for at large. Among these changes is the the support and opportunity. establishment of an annual SAM Student Forum business meeting in Sincerely, Institutional which the student constituency will Peter Schimpf Cappelli Institute of Music be able to voice their opinions about Indiana University the Forum and to elect the Forum’s co-chairs. In addition, the Forum will increase the frequency of its panel
20 The Bulletin of the Society for American Music • Vol. XXX, No. 2 The Bulletin of the Society for American Music • Vol. XXX, No. 2 21 R EPORT FROM THE C ONFERENCE into backwaters and hidden corners the early 1970s, when he immersed Chris Strachwitz Named 2004 of the country with an uncanny himself in Tex-Mex and tejano music, Honorary Member knack for finding exceptional musi- amassing a huge collection, probably cians, interview and photograph the world’s largest, of commercial — Judith McCulloh them, record them, edit those tapes, recordings of vernacular music from remaster recordings others had made, both sides of the Border. His Frontera reproduce the sounds on LP or CD, Collection, including many one-of-a- Since the late 1950s Chris write the notes, design the jackets, kind items, consists of approximately Strachwitz has sought out, recorded, and market and promote everything 15,000 78 rpm discs (dating from and shared with the rest of us a so effectively? He seemed to come ca. 1906 to 1960), approximately treasure trove of vernacular music, out of nowhere, tackling the tedious 17,000 45 rpm discs (ca. 1953 to at first traditions from the United chores while relishing the romance of 1995), and approximately 3500 33 States and later those from Mexico it all. rpm LP albums (1950s to 1990s). He and other parts of the world as well. The folklife Chris might have made the film Chulas Fronteras in He has embraced this music, and the been aware of as a boy in Germany 1976 (with Les Blank), and in 1994 people who make it, with respect would have been peasant life in the published a wonderful book (with and intelligence, impeccable taste, classic sense. Facing a different scene Jim Nicolopulos) about the legend- a superb aesthetic, cheerful persis- as a teenager in 1947, when he and ary singer known as the Lark of the tence, high standards of scholarship, his family came to America, he found Border, Lydia Mendoza. and remarkable honesty. In 1960 refuge in the intensity of rhythm Chris’s most recent gift to us, he founded Arhoolie Records and and blues, hillbilly, gospel, jazz, and through CDs and video, is sacred produced his first LP, a 250-copy Mexican ranchera music and bought steel, the dynamic worship music of pressing of Manse Lipscomb’s Texas as many records as he could. He spent the House of God Keith Dominion Sharecropper and Songster. This is a couple of years in the army, gradu- Holiness-Pentecostal Church, featur- still available, now on CD with addi- ated from the University of California ing electric steel guitars and spirit tional material. Many more record- at Berkeley, and taught high school beyond belief. While House of God ings followed, some three hundred German near San Jose for three years. members have developed this tradition on Arhoolie and subsidiary labels, But an academic career was not in his since the 1930s, it remained within and they continue to appear. The five- future, and just as well. Had it been, the church until just a few years ago. CD set published in 2000, Arhoolie he would surely have been frustrated (SAM members will remember the Records 40th Anniversary Collection, by the lack of freedom to simply fol- powerful sacred steel evening during 1960-2000: The Journey of Chris low his heart and curiosity and work our Charleston meeting.) Strachwitz, with its Grammy-winning with the music he loves. He is not a In 1976 Chris started the Down liner notes (by Elijah Wald), samples man to be confined. Home Music Store in El Cerrito, this catalog and will provide the best In those years Chris had gotten California, true heaven for anyone starting point for those who have yet to know Bob Pinson and other record interested in records, books, and other to discover Chris and his amazing collectors. He also met Paul Oliver materials dealing with vernacular achievement. Here we find blues, and Mack McCormick, who gave him and world music. Two years later he bluegrass, country, Cajun, zydeco, entrée to blues singers in Texas. One started a distribution company for his Tex-Mex, jazz, gospel, klezmer, thing led to another. After putting out own recordings and those of other sacred steel-forms that began “under a few blues LPs on Arhoolie, Chris firms. Those businesses, now spun the national radar” and have, to vary- reissued some of the hillbilly 78s from off, continue to thrive and serve an ing extent, found a mainstream audi- Bob Pinson’s collection, having made international audience. ence. If these artists and sounds seem the linkage very early between those Chris is known for his forthright like old friends today, we should two realms. When Lightning Hopkins opinions, instinctively reached and remember that it was often Chris who introduced Chris to his cousin-by- freely shared. We can have no doubt made the first introduction. marriage Clifton Chenier in 1964, he about what he thinks. Vernacular What prepared Chris to become moved easily to the French traditions a one-man institution who could of Louisiana and the Gulf Coast. continued on page 22 command the whole process—go His grandest venture came in
20 The Bulletin of the Society for American Music • Vol. XXX, No. 2 The Bulletin of the Society for American Music • Vol. XXX, No. 2 21 “Report from the Conference” cont’d from page 21 and most of all his personal commit- sis, showing that where Ellington’s ment and integrity and the sheer joy compositions tend to be episodic, music, regional music, the music of he brings to this enterprise continue Strayhorn’s tend to develop over local communities is what turns him to inspire us all. With great respect, their entire span; where Ellington on. He vibrates, he glows. Think admiration, and affection we welcome preferred close voicings, Strayhorn rough, raw, intense, lowdown, unme- the Society for American Music’s new liked to spread the instruments out diated, unprocessed, unapologetic. honorary member, Chris Strachwitz. through several registers, and so Think Fred McDowell, Lightning on. Strayhorn, like Ellington, had a Hopkins, Country Joe and the Fish, distinct and recognizable style as a the Hodges Brothers, Mainer’s composer and arranger. Mountaineers, Hazel Dickens, Rose 2002 Irving Lowens Award for Best Thanks to Walter van de Leur, Maddox, Del McCoury, Clifton Book Awarded to Walter van de Leur Billy Strayhorn is no longer just a Chenier, BeauSoleil, Flaco and name on the record labels of “Lush Santiago Jimenez, Lydia Mendoza, the Life” and “Take the A Train.” Each year the Irving Lowens Campbell Brothers and Katie Jackson. Strayhorn emerges as a major Book Award honors authors of works Secondhand interpreters, such as those American composer with a distinctive that make outstanding contributions to folk revivalists who are still household and powerful voice of his own. American music studies. The Lowens names, and their descendants, qualify Members of the 2002 Irving Book Award Committee for 2002 as “Mickey Mouse” pablum, their Lowens Book Award Committee were considered 37 titles from 13 publish- groups as “mouse bands.” Marva Carter, Jeff Magee, Howard ers before arriving at its choice for In recent years, Chris has reflected Pollack, John Spitzer, and Wilma the best book about American music more on the concept of vernacular Reid Cipolla (chair). in 2002—Something to Live for: the music and on organizations that share — John Spitzer Music of Billy Strayhorn by Walter his commitment to the traditions he van de Leur, published by Oxford values. He established the Arhoolie J. Peter Burkholder Receives the University Press. Foundation in 1995 “for the purpose 2002 Irving Lowens Award for Best Van de Leur surveys Billy of helping to document, present, and Article Strayhorn’s music, from the early disseminate authentic traditional and songs of the Pittsburgh years, through regional vernacular music.” Its pri- over 25 years as composer-arranger The recipient of the Society for mary asset is his Frontera Collection. for Duke Ellington’s band, as well as American Music Irving Lowens In this new role as elder statesman, works that Strayhorn created outside Award for the best article on he continues to serve the cause of the Ellington organization. Something American music published in 2002 American music, and vernacular to Live For dispels the commonly is J. Peter Burkholder for his “The music everywhere, from the ground held view of Strayhorn as Ellington’s Organist in Ives,” published in the up. “alter ego” and the misleading notion Summer 2002 issue, volume 55, num- Honors have come his way, and that Ellington and Strayhorn com- ber 2, of the Journal of the American not just Grammy nominations and posed and arranged jointly and that Musicological Society. After con- awards. In 1994 his Lydia Mendoza one man’s work cannot be disentan- sideration of many fine entries, the book earned the ARSC Award for gled from that of the other. committee agreed that Professor Excellence in Historical Recorded Through comprehensive and Burkholder’s exceptionally clear and Sound Research. The next year meticulous analysis of Strayhorn’s detailed presentation essentially alters brought NAIRD’s Hall of Fame manuscript scores, plus scores and our understanding of Charles Ives and Award. In 2000 he became the very parts from the Ellington archives, his music. first recipient of the NEA’s Bess van de Leur shows that Ellington’s Although few American com- Lomax Hawes National Heritage and Strayhorn’s compositions and posers have received as much schol- Fellowship for his major contributions arrangements can be distinguished arly attention as Ives, Professor to “the excellence, vitality, and public consistently and categorically from Burkholder forces his reader to see appreciation of traditional arts and art- one another. Pieces in the Ellington the composer in an entirely new ists.” band’s repertory were either by Duke light. We have all known that Ives Chris’s resourcefulness and schol- Ellington or by Billy Strayhorn, not was a church organist in his youth, arship, his productivity and incredible by both men. Van de Leur then moves but missing was our understanding energy, even after so many decades, from diplomatic to stylistic analy- of the fundamental importance that
22 The Bulletin of the Society for American Music • Vol. XXX, No. 2 The Bulletin of the Society for American Music • Vol. XXX, No. 2 23 Ives’s experience with the instrument his own experience as a professional program notes, and lectures, informal had on many aspects of his composi- church organist for thirteen years. and formal, across the country. You, tional style. Professor Burkholder cuts As Burkholder notes in his who called Amy Beach, a “Passionate a wide bibliographic swath and drew conclusion, the organ and its music Victorian,” channeled your own pas- upon his more than two decades of is a somewhat separate tradition. sionate mind into enfranchising her study of the life and music of Charles Organ music usually has been writ- music and her story. The awards it Ives in producing an article that takes ten by organists and often studied gathered—an Irving Lowens award a fresh look at this iconic figure in primarily by organists. As Professor from SAM, an ASCAP Deems Taylor American music. Burkholder has demonstrated per- award, and that most elusive prize, a Professor Burkholder first reviews suasively, we must come to a better sparkling New York Times review— Ives work as an organist, demonstrat- understanding of nineteenth-century proved even academics can change ing from period sources that Ives, by organ music known and performed by their collective minds. Now embark- age fifteen, was most accomplished Ives in order to understand more fully ing on a new collaborative project, on the instrument. He then surveys his music. We congratulate J. Peter Music in Gotham, 1863-1875, to Ives’s use of the organ in his composi- Burkholder on his achievement. document and reassess urban musical tions and how Mendelssohn’s organ — Paul R. Laird,University of Kansas culture in early New York, you have music appears to have been one of found a new mission, still served by his decisive influences. Burkholder your feminist risk-taking spirit. Writ- posits that the tradition of improvisa- Lifetime Achievement Award ing brilliantly of Dvorak’s “long tion among organists carries special Presented to Adrienne Fried Block American reach,” as you did in an importance in Ives’s compositional Idealist and realist, you have pio- influential article of 1993, you have style and that his own virtuosity on the neered the fields of women’s history provided a fitting motto for your own instrument was a factor in his choice and American music at their emer- career. Through your “long reach” to write exceptionally difficult music gent moments, never faltering in your we have benefited from the many for other performers. Burkholder commitment to intellectual rigor, act- ways you, as leader and mentor, have finds that the composer’s experience ing as a force for cultural equity in our expanded the boundaries of possibil- as an organist influenced him to bring academic community. Your College ity for American music studies. With to his music for other instruments a Music Society Report on “The Status this award we honor your exemplary number of stylistic choices: the types of Women in College Music, 1976- intellectual integrity and scholarship of effects made possible through mul- 77” (1980) issued a strong call for — Dale Cockrell tiple keyboards; “sonic exuviation,” change, articulated with the most or stopping of one mass of sound and potent argument of all—statistics. John Graziano Receives exposing a different, softer sound; and Your visionary leadership in pro- Distinguished Service Award the sounds and harmonies of organ ducing foundational materials, such mixtures and mutations expressed as Women in American Music: A The Distinguished Service in Ives’s music in terms of parallel Bibliography of Music and Literature Citation for 2004 is awarded, finally, dissonant chords and use of simulta- (1979), where about 1700 annotated to a person who should have received neous loud and soft layers of sound. articles accompanied an unmatched it years ago. The delay in the award is Burkholder also describes Ives’s use catalogue of compositions, justified not really surprising, since he always of fugue, quotation and elaboration the size of an unprecedented NEH worked quietly and modestly behind of hymns, and pedal points as pos- grant; it helped others follow your the scenes, and was seldom given the sible effects of his experience as an path in challenging stale orthodoxies recognition he deserved for his excel- organist. Burkholder considers many about the canon. The double–outsider lent accomplishments. A Sonnecker compositions by Ives in a variety of nature of its topic only spurred you from the very beginning, we sat next genres, demonstrating an encyclope- on. In 1988 your CMS report on “The to each other at the Iron Gate in 1974 dic understanding of the composer’s Status of Women in College Music.” when Irving Lowens proposed the output and style. One notion that In 1998, the publication of your capt formation of the Sonneck Society. He cannot stand after full appreciation ivating biography of a once-scorned became active right away, enthusiasti- of Burkholder’s article is that Charles “lady composer”—”Mrs. H. H. A. cally supporting all the proposals that Ives was a musical amateur; this was Beach,” as she had been exclusively were then being made for this new a professional musician who wrote known—capstoned many years of music based upon the sounds that he continued on page 24 advocacy through articles, editions, wanted to hear, informed broadly by
22 The Bulletin of the Society for American Music • Vol. XXX, No. 2 The Bulletin of the Society for American Music • Vol. XXX, No. 2 23 “Report from the Conference” cont’d from page 23 Music. The four volumes under his such popular culture topics as rock, stewardship not only featured a new hip-hop, and on regional eye-openers adventure in support of American format, but a wide variety of articles like Mark Clague’s work on Chicago’s music. Newer members of our on all areas of American music, Auditorium Theater. It was difficult to Society must be reminded that at that including a special issue devoted to narrow the seventeen dissertations to time Americanists were anathema in the very successful Keele conference. four finalists and even harder to arrive the American Musicological Society, In 1989 and again in 1992 he served at a single winner from so imposing a and younger scholars working in as chair of the committee searching field. American music were warned not to for new editors. He was elected Vice Many Americans don’t tend to stress their interests in such a “minor President in 1995, and served in that pay much attention to the Midwest, and unimportant” field. That our capacity for four years. He has at vari- especially those of us who live on honoree undertook not only to sup- ous times served as chair or member one or the other coast. East coast, port the new society but also to work of the Lowens Book Award and the West coast, and the hole in the middle assiduously to solidify its foundation Development committees. It seems of the bagel—the Midwest. Mark is an indication of his devotion and that any time the president needed Clague’s “Chicago Counterpoint: dedication to the Society. He and his something done, he would be called The Auditorium Theater Building and equally dedicated wife even hosted a upon to lend his expertise and mana- the Civic Imagination” (University of two-day Board meeting at their home gerial skills. Serving in myriad ways Chicago) focuses on a Chicago the- in the early days, including meals and over these almost thirty years of the atre building that opened in 1889 and lodging. society’s existence, he set a standard on the music heard there. Yet as one But a society does not begin with for others to emulate in furthering the of the members of the Housewright a simple suggestion. It needs By-laws, goals of the Society. committee points out, “. . .those and as a two-term Member at Large It is therefore with great per- fortunate enough to read it will find (1977-81), our honoree was chair of sonal pleasure that I announce the themselves gracefully led from a the committee that developed them, recipient of the 2004 Sonneck Society study of a single musical institution, and again, when the need arose as Distinguished Service Citation, Dr. to a portrait of a larger metropolitan a result of the society’s growth and John Graziano! community, and, ultimately, toward expansion, served on the committee — Raoul Camus a greater understanding of American that revised them in 1987. He was an cultural life.” The depth and scope important member of the committee Wiley Housewright Dissertation of Mark Clague’s research is evident that planned and organized the first Award for 2002 Presented to throughout; an outstanding piece of meeting of the new society, helping Mark Clague historical and interpretive scholar- to establish traditions that are still The Wiley Housewright ship, it is moreover a delight to read. part of our meetings. Held in Bayside, Dissertation Award competition for Mark Clague leaves us believing New York, that first meeting of the the year 2002 brought forth seventeen that Chicago is, after all, a “helluva Sonneck Society became a traumatic interesting and weighty tomes. Every town,” and has been for a long yet bonding time for all when the city one was a compelling challenge to the time. His exceptional dissertation is shut down its university and we were reader and to this chairperson’s life- highly recommended to members of forced to find alternate spaces on short long habit of working in bed. The the Society as a model of approach, notice. indubitable Virgil Thomson agreed scholarly research, and elegant prose. Having survived that emergency, that it’s the best place to work but As an expression of our regard, the our honoree went on to serve as chair gave no instructions on how to take committee has chosen “Chicago of the nominating committee in 1977 a ten-pounder to bed with you. Upon Counterpoint” as the finest disserta- and later as a member of the com- receiving one eight-hundred-page, tion on an American music topic in mittee for 1981 through1983 and two-volume dissertation, one com- 2002. We are delighted to confer as a member of the Conference Site mittee member suggested initiating the Wiley Housewright Dissertation Selection committee for 1978. With a “Dissertation on Wheels” service. Award upon it and its worthy author, his experience, he was often asked All agreed that the most striking Mark Clague. over the years to serve informally on characteristic of the dissertations was many program and local arrangements not just size, but their overall excel- committees. In 1986 he followed lence and a refreshing diversity of Allen Britton as editor of American subject matter; the committee read on
24 The Bulletin of the Society for American Music • Vol. XXX, No. 2 The Bulletin of the Society for American Music • Vol. XXX, No. 2 25 2004 Mark Tucker Award Presented The paper seamlessly integrates in American music history; scholars, to Larry Hamberlin analysis of music, lyrics, sheet-music musicians and the general public iconography, and contemporary press will greatly benefit from its pub- Mark Tucker was known to SAM reports with the historical circum- lication. Rae Linda Brown: The members for many things: careful stances that shaped them. Topping it Heart of a Woman: The Life and scholarship, elegant prose, deep musi- off, the presentation was a tour de Music of Florence B. Price, 1887- cality, formidable piano talent, and force, featuring Hamberlin’s idiom- 1953 (University of Illinois Press). generosity to students and colleagues. atic performances of the songs from The book by Rae Linda Brown is a Linking these qualities was an uncanny memory. As a result, the paper gives much-needed study of an important perceptiveness that made Mark seem us a vivid snapshot, in Hamberlin’s American woman and black com- like a man on whom nothing was lost. words, of “a young popular music poser. Florence B. Price deserves I had the good fortune to have Mark on culture gaining a distinctively a serious examination of her life, my dissertation committee more than American voice while…tipping its her milieu, and her compositions. a decade ago, and I saved dissertation hat to its European antecedents.” Brown’s book, filled with analytical draft pages featuring pithy marginal and biographical insights, is based on comments in Mark’s spidery scrawl. -—Jeffrey Magee archival studies and richly illustrated But I know I’m not alone in feeling with numerous musical examples, Mark’s presence as strongly as ever. providing an excellent introduction to So I’m pleased to stand here to present Price’s sound world, her musical aes- the third annual Mark Tucker Award for thetics, and her compositional tech- outstanding student paper read at the 2003 Earle Johnson Bequest nique. As a result, this once forgotten conference—yet another example of Publication Subventions woman composer will become better how Mark’s legacy continues to enrich known. The book opens the way the Society. I’ll present the award on The 2003 Publication Subvention to the inclusion of Price’s name in behalf of the three-member committee Committee consisted of Maja music history surveys and her music chaired by Nym Cooke, who couldn’t Trochimczyk, Chair, University in concert programs. Ron Pen, Louis be here, and including Judith Tick and of Southern California; Adrienne Dolive, and Rachel Brett Harley, myself. Fried Block, Graduate College, City eds.: Kentucky Harmony and The committee reviewed eight University of New York; Luke B. Supplement to Kentucky Harmony papers, and while considering many Howard, Brigham Young University; (The University Press of Kentucky). worthy candidates, decided that this Mitchell Morris, University of While this book would perhaps appeal year’s Mark Tucker Award goes to California, Los Angeles; Denise Von to a smaller market, it is essential to Larry Hamberlin for his paper “Caruso Glahn, Florida State University. The scholars intent upon developing a and His Cousins: Portraits of Italian award was divided amongst three pub- fuller understanding of how early Americans in the Operatic Novelty lications. Eileen Southern and Doris American musical culture morphed Songs of Edwards and Madden.” In Evans McGinty: A Documentary over time, and moved from place lively and graceful prose, Hamberlin History of The National Association to place. The involvement of three explores songs by the Tin Pan Alley duo of Negro Musicians (Center for authors from three different locations of Gus Edwards and Edward Madden, Black Music Research). The history with three quite different specialties showing how they forge musical and of the National Association of Negro reflects well on the kind of geographic social parody from class and ethnic Musicians, narrated by Southern and and disciplinary collaboration that is tensions in turn-of-the-century New McGinty through a careful selec- at the heart of the subject itself. The York. In a period when New York’s tion and annotation of documents, is modern transcriptions are clean and Italian population increased eight-fold, a major project of great relevance, lovely; the collection provides a wel- ultimately outnumbering the popula- superb quality, and significant schol- come opportunity to consult both the tions of Florence, Venice, and Genoa arly value. Southern and McGinty facsimiles and the scores in the same combined, Hamberlin shows how these carefully organized important his- volume. songs offered double-edged satire, of torical documents and placed them both high-class Italian opera and low- within the framework of elegantly — Maja Trochimczyk class Italian immigrants. The songs are written interpretive essays. The range thus heard as hilarious reflections of a of documents is fascinating and they middle-class sensibility riddled with are seen in a book format for the first continued on page 26 contradictions. time. The volume fills in a major gap
24 The Bulletin of the Society for American Music • Vol. XXX, No. 2 The Bulletin of the Society for American Music • Vol. XXX, No. 2 25 “Report from the Conference” cont’d from page 25 ing for, evaluating, selecting, annotat- cussed, but also performed. Interest ing and appropriately placing online Group member Craig Parker presented lesson plans and web sites, as well as a lecture-recital of cornet solos used Non-Print Publication reviewing and placing offline media by Sousa’s Band, and John Graziano Subvention Award Presented to Aside from being available glob- and Julia Grella treated us to a discus- AfroAmericanHeritage.com ally 24/7, this project is self distribut- sion and performance of Sousa songs. ing: as more people discover it, they Between the business meeting and the The Non-Print Publication recommend it and link to it from their banquet, the Society’s very own brass Subventions Committee, consisting own sites. Current “linkers” include band was joined by several ARSC of Kip Lornell (Chair), Tracey Laird, the Archives of African American members in pieces that remembered and Robynn Stilwell, presented the Music & Culture, the Library both Sousa and our recently departed Society’s 2004 award to Gerri Gribi at of Congress American Memory friend Bunker Clark. Of course sev- CreativeFolk.com for her work on the Collection Learning Page, and the eral glasses of shrub helped to loosen website, AfroAmericanHeritage.com National Education Association, plus the lips and comfort the ears. (you may deep link directly to the Music hundred of schools, libraries, educa- The official meeting of the category:
26 The Bulletin of the Society for American Music • Vol. XXX, No. 2 The Bulletin of the Society for American Music • Vol. XXX, No. 2 27 able “American” art music and the “MeShell Ndegéocello: Musical formidable demographic disparities Articulations of Black Feminism,” shifts in church music and hymnody. within the culture itself. Inciting a employing theoretical concepts by Even blatant marketing strategies are very lively discussion, Prof. Nicholls’ Angela Davis and bell hooks. In “‘B- adopted as churches compete with remarks resulted in few concrete Girl Stance in a B-Boy’s World’: DJ one another for membership. Though conclusions, yet many compelling Kuttin Kandi, Hip-Hop Activist,” tensions regarding the music are ponderables. Ellie M. Hisama explored the hip-hop not unprecedented, the gap between — David Patterson world as an empowering medium for sacred and secular is ever-widen- the Filipina-American Kuttin Kandy. ing or, one might argue, becoming Gay/Lesbian/Bisexual/ Demonstrating an aspect that empow- increasingly blurred. Transgendered Interest Group erment, Kandy expressed her delight Esther Rothenbush Crookshank at being interviewed by a scholar will be stepping down as co-chair of The Gay/Lesbian/Bisexual/ (Hisama), describing it in her blog the Gospel and Church Music Interest Transgendered Interest Group (on-line journal) as “better than dope.” Group. Tammy Kernodle (Miami was honored with a provocative Including video clips and images and University, Ohio) will join Roxanne presentation by Howard Pollack well as audio examples the presenta- Reed as co-chair. Esther was one that compared two biographies tions were lively, well-attended, and of those who spear-headed getting of Charles Griffes (those by stimulated much discussion. the group established and has given Edward Maisel and Donna Anderson) tremendously from its start. We wel- in regard to their respective treat- —Liane Curtis come Tammy as Esther’s replacement ment of his homosexuality. Iden- and have begun sharing ideas for tifying “coded” terms, assessing future programs. the degree of euphemistic applica- tions by either author, and detail- ing the impact of Griffes’ surviving Gospel and Church Music Interest family members in steering the Group course of at least one biography, Prof. Connecting Outside the Academy Pollack ultimately demonstrated how Interest Group the work of Maisel (1943) treated the The Gospel and Church Music Interest Group had 7 attendees at The newly-founded interest subject in a direct and unapologetic group related to topics of Connecting tone that was itself ahead of its time. its session in Cleveland (Patricia Woodard, Hunter College; Polly Outside the Academy met for — David Patterson Carder, Blacksbury, VA; Bonnie the first time in Cleveland, with Houser, Cleveland Institute of Music; approximately 25 in attendance. Dale Gender and Music Interest Group Daniel Grimminger, University of Cockrell presented a paper on Dvořák Pittsburgh; Olivia Mather, UCLA; in Nashville (published elsewhere in this Bulletin), Deane Root dis- The Gender and Music Interest Group Gail Murchison, Tulane University; and Roxanne Reed, Miami University, cussed “Voices Across Time”, and presented a panel on Intersections of Mark Clague described the challenges Race and Gender, with two papers Ohio). The interests of attendees of activating the American Music dealing with opera, and two on hip- Institute at Ann Arbor. Joe Horowitz, hop. In “The Trouble with Minnie: included organ accompaniments of 1860s hymns, post-Civil War gospel chair of the Interest Group set the Puccini’s Exotic American Heroine,” tone for the group with his remarks Annie J. Randall examined the hymn composition and publishing, Lutheran Chorale and Hymnals, and about the importance of connecting impact of opera’s voyeuristic, impe- “islands”—eg scholars, performers, rialist gaze, when Americans were the Jesus Movement of the 1970s. The session was an open discussion composers, and disciplines—and employed as the subject of exoti- harped on the frequent resistance, in cism. Naomi André, in “Examining on the topic of Worship Wars, particu- larly over the last couple of decades. the name of “pedagogy,” of music ‘Blackness’ in Opera,” drew from schools and conservatories confronted models of feminist musicology to con- Increasingly, worship is becoming more consumer oriented, resulting in with the opportunity to connect with sider how racial difference is depicted people outside their four walls. on the operatic stage, in examples by shifts in the training of pastors, shifts Verdi, Krenek and Gershwin. Martha in the basic idea of worship and what Mockus analyzed three songs in it is or means to worship, and finally
26 The Bulletin of the Society for American Music • Vol. XXX, No. 2 The Bulletin of the Society for American Music • Vol. XXX, No. 2 27 N EWS OF THE S OCIETY
Summary of the 2004 the past calendar year. His report was that Larry Worster is the Society’s Annual Business Meeting accepted as distributed. The Chair of Web Editor and is currently refining the Nominating Committee, Katherine ideas for the Web site with the guid- Preston, thanked her committee ance of the Web Editorial Committee The 2004 business meeting of (Marva Carter, Michael Pisani, Paul (Francesca Draughon, Mark Katz, and the Society for American Music was Wells, and Larry Worster) and those Felicia Miyakawa). called to order by President Carol Oja members who had agreed to stand Mary Davis, Local Arrangements at 4:20 p.m. on Saturday, March 14, for office and announced those that Chair for the Cleveland Conference, 2004, at the Renaissance Cleveland had been recently elected: Michael was thanked with a hearty round of Hotel in Cleveland, Ohio. A summary Broyles, President-elect; Allen Lott, applause for her significant work on of the 2003 Annual Business meet- Secretary; and Vivian Perlis and behalf of the conference. She enthu- ing in Tempe, Arizona (copies of the Wayne Shirley, Members-at-Large of siastically thanked her committee account published in the Spring 2003 the Board. Preston encouraged mem- (Christine Smith Dorey, Dana Gooley, Bulletin and distributed at the meet- bers to become active and inform the David Kay, Charlotte Newman, Sara ing) was accepted without correction. President of the areas in which they Schimelpfenig, Denise Seachrist, and Oja welcomed members to the would like to serve. Sarah Tomasewski) as well as rep- Cleveland conference, a joint meeting David Nicholls, editor of resentatives from ARSC, including with ARSC that had been the inspira- American Music, thanked the Board President Jim Farrington and Local tion of Past President Paul Wells. She for agreeing to expand the Journal Arrangements Chair Bill Klinger, thanked those who made the meet- from 128 to 144 pages per issue, which and the Rock and Roll Hall of Fame, ing such a great success, including will allow more space for reviews. including CEO Terry Stewart. Oja Mary Davis, Local Arrangements He thanked review editors Craig also thanked the host institution Chair; Rob Walser, Program Chair; Parker and Ron Pen and announced Case Western Reserve University. Jim Hines, Conference Manager; and the appointment of Charles Hiroshi Rob Walser, Program Chair, thanked Mariana Whitmer, Executive Director. Garrett as multi-media review editor. his committee (Beth Levy, David She noted that it was dedicated vol- He noted the Journal’s publication Neumeyer, Leonora Saavedra, Larry unteers that make the Society and schedule is on target and remarked on Starr, and Judy Tsou) and for those its work possible. It was a pleasure the continued increase in the quantity who had presented terrific papers. to welcome students and their fresh and quality of submissions. He would He noted there were twice as many ideas at the same time the Society is especially like to see articles devoted submissions as the previous year and documenting and celebrating the con- to earlier periods and ethnomusico- it had been challenging to make a final tributions of its founders. logical issues; articles can be shorter selection. A moment of silence was than those typically published. He Anne Dhu McLucas, Local observed for departed members of thanked the members of the editorial Arrangements Chair for next year’s the Society, including Arthur Berger; advisory board for their assistance as meeting in Eugene, Oregon (16-20 J. Bunker Clark, a recipient of the the principal reviewers of submis- February 2005) enticed members to Distinguished Service Award (with sions. attend with images of the ocean, green a tribute by Craig Parker); Daniel Paul Wells, Chair of the grass, and mountains. The conference, Kingman (tribute written by William Publications Council, reported that a based in a downtown hotel in the heart Kearns and read by Kay Norton); committee chaired by Tom Riis has of Eugene, will include a jazz concert and Wiley L. Housewright (tribute by launched a search for the next editor sponsored by the Oregon Festival of Denise Von Glahn). of American Music. The Publications American Music and sessions involv- Various officers and committee Council (David Nicholls, Paul Wells, ing Pauline Oliveros, the Society’s chairs presented reports. A statement Mariana Whitmer, and Larry Worster) Honorary Member for 2005. of the Society’s financial condition is also carrying out a search for a con- Judy Tsou, Program Committee was distributed by Treasurer George tent editor for the Bulletin. Executive Chair for the Eugene Conference, Keck, who noted that the Society Director Mariana Whitmer is serving announced the members of her com- continues to be in good financial as interim editor and will continue as mittee (David Ake, Naomi André, condition with investments recover- managing editor. Wells also stated David Brackett, Rae Linda Brown, ing, although there was a deficit for
28 The Bulletin of the Society for American Music • Vol. XXX, No. 2 The Bulletin of the Society for American Music • Vol. XXX, No. 2 29 and Robynn Stillwell) and urged “Caruso and His Cousins: Portraits committee chair Wilma Reid Cipolla, members to submit proposals for of Italian Americans in the Operatic announced the winner of the Lowens papers and sessions, especially those Novelty Songs of Edwards and Book Award: Walter van de Leur, relating to the Pacific Northwest; Madden.” Something to Live for: The Music of deadline for submission is 15 July. Seventeen dissertations were Billy Strayhorn Oxford University Kay Norton, Chair of the submitted for the Wiley Housewright Press); Judith McCulloh read the Conference Site Selection Committee, Dissertation Award. Committee citation for Honorary Member Chris encouraged members to submit chair Vivian Perlis remarked on the Strachwitz.] proposals to host a conference and refreshing diversity of topics and Ann Sears, Chair of the announced the following future con- approaches represented in them. The Development Committee, announced ference sites: Chicago in 2006 as award was presented to Mark Clague the founding of the Sonneck Circle, a joint meeting with the Center for for “Chicago Counterpoint: The which will connect the Society’s past Black Music Research; Pittsburgh Auditorium Theater Building and the with its future. Charter members are in 2007 as a joint meeting with the Civic Imagination” completed at the automatically a member of the Circle, Music Library Association, hosted by University of Chicago. Clague warm- named in honor of Oscar Sonneck; the University of Pittsburgh, and San ly thanked the Society for the nurtur- other member may join by making Antonio in 2008 hosted by Trinity ing environment it had provided and a significant financial contribution University with Carl Leafstedt as encouraged students to support each to the Society. Sears announced that Local Arrangements Chair. other. two awards were now fully funded: Josephine Wright, standing in John Koegel, standing in the Wiley Housewright Dissertation for Maja Trochimczyk as Chair of for committee chair Paul Laird, Award and the Mark Tucker Award. the Book Publication Subvention announced the winner of the Lowens Oja thanked Sears for her hard work Committee, announced that three Article Award: J. Peter Burkholder, and acknowledged Paul Wells for forthcoming books would receive “The Organist in Ives,” Journal of encouraging past presidents to con- subventions: Doris Evans McGinty, the American Musicological Society tribute to the Sonneck Circle. ed., A Documentary History of 55 (Summer 2002). Burkholder was Denise Von Glahn, who was the National Association of Negro deeply honored by the award and appointed chair of an ad hoc com- Musicians (Center for Black Music thanked the Society for the support it mittee on the history of the society Research); Rae Linda Brown, The has given him over the years. in September 2003, reported on her Heart of a Woman: The Life and Raoul Camus read the cita- work that has included interviewing Music of Florence B. Price, 1887- tion for the Distinguished Service founders of the Society. She believed 1953 (University of Illinois Press); Award, which was presented to there was a need to understand the and Ron Pen, ed., Kentucky Harmony John Graziano. Graziano believed varied hopes and visions of the and Supplement to Kentucky Harmony that because such an award could Society’s founders, to whom we owe (University Press of Kentucky). be offered was an indication of the a debt, and how the Society’s devel- The Non-Print Publication vision of the founders of the Society. opment had signaled the coming of Subvention was awarded for the He commented on the tremendous age of American music studies. first time in several years. Carol Oja, growth of the Society and wished Josephine Wright, Chair of the standing in for committee chair Kip that it would continue to prosper. Committee on Cultural Diversity, Lornell, announced this year’s recipi- Judith Tick read the citation for also newly formed by the Board in ent as Gerri Gribi. The subvention the Lifetime Achievement Award, September, encouraged input from will assist her in completing the music which was presented to Adrienne the membership about concerns category of the African American Fried Block. Block stated that the and suggestions for future areas of Studies Toolkit, an online resource for award was most gratifying and an endeavor. K-12 educators. absolutely overwhelming compli- Oja recognized and thanked Eight papers were submit- ment. She commented on the warmth outgoing officers, Board members, ted for the Mark Tucker Award of the Society’s membership, believ- and committee chairs for their con- for the outstanding student confer- ing it was unusual to have such feel- tribution to the Society: Paul Wells, ence paper. Jeff Magee, standing ings about a professional society. Past President; George Boziwick and in for award committee chair Nym Two awards were presented at the Mary DuPree, Members-at-Large; Cooke, announced the winner: Larry banquet following the business meet- Ann Sears, Development; Vivian Hamberlin of Brandeis University for ing. Dale Cockrell, standing in for Perlis, Housewright Dissertation
28 The Bulletin of the Society for American Music • Vol. XXX, No. 2 The Bulletin of the Society for American Music • Vol. XXX, No. 2 29 “News of the Society” continued from page 29 STATEMENT OF FINANCIAL CONDITION Society for American Music Award; Nym Cooke, Mark Tucker Year Ending December 31, 2003 Award; Paul Laird, Lowens Article Award; and Wilma Cipolla, Lowens GENERAL FUND Book Award. Oja announced the following Income new committee chairs: Lenore Coral, Lowens Article Award (2003 publi- Dues $38,325.00 cations); Howard Pollack, Lowens Transfer from Life Membership Fund 1,800.00 Book Award (2003 publications); Jeff Interest/Dividends 2,500.67 Magee, Mark Tucker Award; Diana Contributions 3,894.17 Hallman, Housewright Dissertation Conference Profit 10,343.10 Award (2004 completions); and Deane Directory Ads 500.00 Root, Development. RILM Donations 468.00 Mailing List Sales and Postage 150.00 The meeting was adjourned at 6:00 Other (Institutional Membership) 181.00 p.m. — R. Allen Lott, Secretary TOTAL INCOME $58,161.94 Report of the Treasurer Calendar Year 2003 Expenses
The Society for American Music I. PROGRAM continues to be in good financial American Music $35,582.79 condition. The total balance of all Bulletin 6,313.32 accounts is up from last year, as mar- Directory 2,380.51 ket conditions continue to improve. Outreach 5,919.97 Interest and dividends increased over TOTAL PROGRAM $50,196.59 2002, and contributions were consid- erably higher than last year. Income II. MANAGEMENT was slightly lower than the total bud- Executive Director $10,678.51 geted, but expenses were twenty per Office 3,094.28 cent lower than budgeted. Board 6,604.56 Treasurer 472.50 1996 $258,208.32 Management Services 942.79 1997 $261,777.97 Fees and Miscellaneous 1,775.04 1998 $276,629.58 TOTAL MANAGEMENT $23,567.68 1999 $272,878.19 2000 $293,859.73 TOTAL EXPENSES $73,764.27 2001 $295,062.99 2002 $270,380.91 INCOME MINUS EXPENSES: $(15,602.33) 2003 $311,129.66
— George Keck
30 The Bulletin of the Society for American Music • Vol. XXX, No. 2 The Bulletin of the Society for American Music • Vol. XXX, No. 2 31 2004, Schuller will devote part of his Report of the Silent Auction Members in the News residency to conducting a recent com- position of his featuring combined This year’s Silent Auction was orchestral and jazz groups at ASU. Honorary Member of the Society, another outstanding success, raising Gunther Schuller, is a Distinguished over $2,000.00 for the SAM Student James Perone is pleased to announce Artist in Residence in Arizona State Travel Endowment. Thank you to all the June 2004 publication of his University’s School of Music and is who brought donations, worked the book Music of the Counterculture also the The Katherine K. Herberger SA, and to all of you who upped those Era by Greenwood Press. The Heritage Chair for Visiting Artists bids and took items home. book details music and the various at the University. In a recent jazz Over the past four years the Silent counterculture movements (Anti- residency, he lectured in Kay Norton’s Auction has raised over $10,000.00 for war, Feminism, Back to the Land, graduate seminar on 1920s American the Student Travel Endowment. So Radical Politics, etc.) in the United Music: April 20, Louis Armstrong start collecting items for next year, now! States between 1960 and 1975. His and April 22, Early Ellington. In the The Silent Auction will have a very previous Greenwood titles include latter, he discussed the rarely-heard special item up for bid at next year’s Louis Moreau Gottschalk: A Bio- November 21, 1930 cut of “Mood conference. More details will be forth- Bibliography (2002), Music of the Indigo.” That night, he conducted coming, so start saving your dollars Vietnam Conflict (2001), and Carole the ASU Jazz Repertory Orchestra in so you can help up the bids! King: A Bio-Bibliography (1999). Jim the same tune and about 15 others, by just completed a two-year term as various groups, which reflect his own — Dianna Eiland President of the Great Lakes Chapter transcription work for the Smithsonian of The College Music Society. and elsewhere. In fall semester of The American Academy of Arts and Sciences has announced the election of 178 new fellows and 24 new for- eign honorary members. The 202 men and women are prominent figures in scholarship, business, the arts, and public affairs. We are pleased to note that Judith Tick has been named a 2004 Fellow in the Humanities and Arts, Section 5— Visual and Performing Arts—Criticism and Practice (including Art, Architecture, Sculpture, Music, Theatre, Film, Dance). Congratulations Judith!
Carolyn Livingston, professor of music and director of graduate stud- ies in music at the University of Rhode Island, is the author of a book recently published by the University of Tennessee Press. Charles Faulkner Bryan: His Life and Music is the biog- raphy of Tennessee’s first composer of art music. Bryan (1911-1955) was also a folk music researcher and per- Gathering at the Silent Auction in Cleveland former whose concerts on campuses across the country predated the 1960s folk revival. He was a highly respect- ed music educator and administrator as well.
30 The Bulletin of the Society for American Music • Vol. XXX, No. 2 The Bulletin of the Society for American Music • Vol. XXX, No. 2 31 B ULLETIN B OARD
Music/Appalachian State University Commissions” as well as music by in Boone, North Carolina. Musicians George and his son, David. The IASPM-US Annual Conference from around the world will join us ensemble-in-residence will be the 15-17 October 2004 to celebrate the 50th anniversary of acclaimed new music group, Third University of Virginia The New York Brass Quintet 1954 Angle (Ron Blessinger, director). debut recital in Carnegie Hall, New This year’s meeting of the IASPM- The components of the ten-day York City; 50 years of growth in US will be held on the beautiful and symposium are: daily seminars in numbers of brass quintets throughout historic campus of the University of which each participant will give a the world; 50 years of special com- Virginia. The theme for this year’s presentation about his or her music; positions for brass quintet; 50 years meeting is wide open, and the pro- sessions with George Crumb (com- of emphasis on brass chamber music gram committee encourages submission poser-in-residence) and David Crumb in conservatories, schools of music, of abstracts representing the diverse (composer-in-residence); a special and departments of music around the range of interests represented by the session with Krzysztof Penderecki, world. Such impressive influence in Association’s U. S. membership. the festival’s composer-in-residence; the area of brass chamber music is attendance of rehearsals and festival We are also pleased to announce that unprecedented in the history of music. concerts (free tickets) including the University of Virginia is planning a At this event we will be joined by a small festival of African popular music a concert of Penderecki’s music number of distinguished professionals to coincide with the IASPM meeting, conducted by the composer; perfor- including members of the brass and and conference attendees will be invited mances of music by full participants composition faculty of the Juilliard to participate in these events, as well as on a three-concert series; sessions School (American Brass Quintet, those on the IASPM program. It prom- with featured guest performers and Eric Ewazen) as well as professionals ises to be a rich and vibrant weekend. conductors at the festival, and a spe- from several other well-known brass The confluence of the Afro-Pop cial birthday celebration for George ensembles link for full information: festival with the scholarly and per- Crumb (a party between two of our http://www.music.appstate.edu/ sonal interests of IASPM members concerts). faculty/jones/brasschamber.html and our University of Virginia site For details about the symposium also suggests a number of possible please visit: www.iwagemusic.com “site-specific” topics for papers and panels—though again, there is no “Celebrating Creativity with formal theme, and proposals from Creativity...” ACLS Commission on a wide variety of perspectives are Oregon Bach Festival Composers Cyberinfrastructure for the welcome. But papers discussing phe- Symposium Humanities & Social Sciences nomena such as African pop music, 29 June through 9 July 2004 and world music more generally University of Oregon With support from the Andrew conceived, on the one hand; and those W. Mellon Foundation, the ACLS taking up Southern musical traditions In celebration of George Crumb’s has appointed a national commis- ranging from the folk revival through 75th birthday, ten commissions will sion on cyberinfrastructure in the bluegrass, old-time, and country, be awarded to full participants in humanities and social sciences. This on the other, will find especially this summer’s Oregon Bach Festival commission will carry out research, fertile soil at this year’s meeting. Composers Symposium. Composers hearings, and consultations to gather may apply to be considered for a information and develop perspective, commission, or to have a previously The New York Brass Quintet completing its work within the calen- composed work performed, or to be dar year 2004 and issuing its report Anniversary an auditor. George Crumb will be one 21-23 October 2004 in early 2005. The intended audience of the composers-in-residence during for that report includes the scholarly the symposium. George Crumb will An event of historical and musi- community and the societies that rep- be the composer-in residence for the cal significance will be taking place at resent it, university provosts, federal symposium and a three-concert series the Mariam Cannon Hayes School of funding agencies (including but not at the festival will present the “Crumb
32 The Bulletin of the Society for American Music • Vol. XXX, No. 2 The Bulletin of the Society for American Music • Vol. XXX, No. 2 33 don’t often work together. Programs limited to the NSF), and private instrumental in making the Foote trio seldom feature singers, pianists, foundations. John Unsworth, dean of sheet music available. string quartets, and musicologists on the Graduate School of Library and Music by John Knowles Paine, the same stage; or both professional Information Science at the University Foote, George Whitefield Chadwick, and amateur musicians; or both pre- of Illinois, Urbana-Champaign, chairs Edward MacDowell, Horatio Parker collegiate and collegiate musicians. the commission. The Web site and Amy Beach was performed by Stephen Foster is not often heard in (www.acls.org/cyber/cyberinfrastruc the Choral Arts Ensemble, a 35-voice the context reserved usually for “seri- ture.htm) includes the charge to the chorus, on 27 February (evening) and ous” music; nor are spirituals or black Commission and a list of its members 28 February (afternoon) 2004. Roger musicals. Our commentators have and advisors. The Commission will O. Doyle, CAE conductor and also specializations in American classical use a listserv to communicate progress Professor of Music at the University music, southern music, black the- reports, requests for comment, and of Portland, led Beach’s Three ater, and American literature, and all invitations to public events. This is a Choruses for Women’s Chorus (Op. must find a way to speak to and with one-way list: postings will come only 39) and Te Deum (from Service in A each other. And I haven’t taken time from the chair of the Commission. To major, Op. 63), MacDowell’s Three to talk about how the survey course subscribe, please go to www.acls.org/ Songs for Male Chorus (Op. 27), in American music at Vanderbilt cyberinfrastructure/cyber.htm. Parker’s Now Sinks the Sun (from (which this semester has 217 students St. Christopher), the lovely Dona enrolled!) will be involved. Nor on Nobis Pacem from Paine’s Mass in D the projects in local high schools that and choral songs by Chadwick (The might relate to the festival. The whole Pilgrims) and Foote (Into the Silent ends up being about connections and Land). As a counterpoint, the chorus dialogue, concepts that sociologists also performed two works by Parker’s tell us again and again provide the more famous student, Charles Ives: Celebrating New England Romantics foundations for life lived well and Psalm 67 and Lincoln, the Great perhaps also for music understood Commoner. well. - John Schumann The second aspect I regard so highly about the festival is that it “Dvorak” continued from page 19 Recent concerts in Portland, promises to re-sully classical music. Oregon presented the works of New a “response” to Dvořák’s “American” A hundred years ago, some were England Romanticists. Both were in Quartet. The last half of the pro- dismayed by what Dvořák proposed. part the result of advocacy by SAM gram will feature performances by Today, even as “enlightened” as we member, John Schumann, who also the Nashville Symphony Orchestra believe ourselves to be, having the assisted in the preparation of program (chamber-sized) of Dvořák’s Czech Fisk Jubilee Singers and Stephen notes for each concert. Suite, paired with the American Suite, Foster rub elbows with “art” still jars On 5 December. 2003, to mark many. How far have we really come? th which Dvořák orchestrated shortly the 150 anniversary year of Arthur before leaving the United States in Or how far have we regressed, for I’d Foote’s birth, the Lohr Trio presented 1895. The festival will end with com- suggest that what Dvořák proposed his Three Pieces for Cello and Piano mentary and discussion involving in essence was not really so radical (Op. 1) and Piano Trio No. 1 (Op. 5), scholars, conductors, performers, and for his time. European composers for together with Brahms’ Piano Trio in the audience. centuries lived, worked, and faced C (Op. 87). All three works date from There are, to my mind, two big starvation in a multivalent world of the early 1880s, about the time when ideas to be drawn from “Dvořák in music, where the seams between The Old Church, the hall in which Nashville.” First, by involving com- types, styles, and genres were fluid or the concert was held, was built. The munities, institutions, and organiza- even non-existent. These musicians Lohr Trio is comprised of gifted adult tions in this project that too seldomly were sensitive to the music around amateur musicians: Michael Liu, have much to do with each other, new them and took advantage of what MD (pf), George Oh, MD (vn) and energies and new understandings are was offered by those musics. It was Suzanne Rague (vc). SAM member, produced. The NSO and Vanderbilt only when musicians were taken out Douglas Moore, Curator of the Foote don’t often cooperate like this. of life and given tenured university Collection at Williams College, was Musical forces at Fisk and Vanderbilt continued on page 34
32 The Bulletin of the Society for American Music • Vol. XXX, No. 2 The Bulletin of the Society for American Music • Vol. XXX, No. 2 33 “Chadwick” continued from page 13 R EPORT OF THE WEB E DITOR exhibit “Ein Amerikaner in Leipzig” will document the role of the Leipzig conservatory as an international institution and focus on the particular Expansion of the SAM Web Site attraction it had for Americans in the The SAM Web Editorial Committee is engaging in an expansion of the structure nineteenth century, like George W. of the Resources section of the Society’s Web site. In addition to the currently Chadwick, probably the most famous included links, the following sections will be added. The committee hereby American music student. Chadwick’s solicits its members to nominate sites to be vetted. Members who wish to do so music will be performed in various should submit sites via the Web forms in the Resources section of the SAM Web concerts connected with the exhibit, site. (http://www.american-music.org/resources/ResourcesInformation.htm) The among them one with American vetting criteria are: symphonic music performed by the Hochschulorchester (20 November), 1) Research Sites: University, government, archival, and professional non- and a chamber music concert (25 profit Web sites November). Details will be available • affiliation with non-profit, educational institution or government at www.hmt-leipzig.de. agency At the international conference (i) demonstration of integrity of information sources of the German Gesellschaft für Musikforschung (“Musik und kul- (ii) demonstration of long-term commitment to providing resourc- turelle Identität,” 16-21 September es 2004) in Weimar a panel on “Aspects • must contain listing of archival materials, scholarly information of American Music” will include a regarding specific topics in American music, or articles published discussion of Chadwick’s music and in Web format regarding specific topics in American music influence. The participants will be 2) Instructional Resources and Materials Karen Ahlquist (Washington, D.C.), • Web site must offer materials not available from other widely- E. Douglas Bomberger (Honolulu, accessible publishers or distributors, e.g., recordings, modern edi- HI), John Graziano (New York, NY), tion scores, videos, etc. Earnest Lamb (Pine Bluff, AR), and • quality of materials must demonstrate scholarly commitment to Marianne Betz (Leipzig). respecting historical accuracy “Dvorak” continued from page 33 • may include small, independent commercial ventures that offer materials of interest to scholars and teachers of American music. positions that music could be scrubbed • resources maybe purchased directly from site clean of its cultural dross and dirt, 3) Members: must contain one or more of the following categories of infor- starched, ironed, folded neatly, and mation, easily accessible from the member’s home page placed in a drawer, seldom to be truly • original information or content from the member’s research on top- and comfortably worn. My hope is ics concerning American music, e.g., biographical material infor- that audiences and musicians will take mation about American composers or musicians, lists of works for away from Nashville’s Dvořák festival American composers or musicians new insights into how and why this • instructional resources for courses on American music or American music came to be—serious business, studies topics, e.g., syllabi, lecture notes, review sheets, etc. indeed!—and have a boot-stompin’, • research links for students of American music of all levels two-steppin’, high-kickin’ good ole 4) Titles of dissertations in progress and recently completed on topics in time doing it. Which is quite all right, American Music as the other way around would not be! • titles may be submitted by the student or professor via a link in the Onward. resources section of the Web site • dissertations that have been completed will be moved to the disser- 1 Antonin Dvořák, “Music in America,” tations recently completed section for a period of five years Harper’s New Monthly Magazine, XC — Larry Worster (February 1894), pp. 432-33.
34 The Bulletin of the Society for American Music • Vol. XXX, No. 2 The Bulletin of the Society for American Music • Vol. XXX, No. 2 35 31 ST A NNUAL C ONFERENCE C ALL FOR P APERS
The Society for American Music invites proposals for papers, concerts, lecture-performances, full panels of 3 or 4 papers, and other useful events for its 31st annual conference in Eugene, Oregon, 16-20 February 2005. The Email or postmark deadline is July 15. 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 any of the following:
- Pauline Oliveros (the SAM honorary member of 2005) and related topics such as philosophies of composing or audience in American experimental music - Centennial of the births of Harold Arlen (15 Feb 1905– 23 April 1986), Marc Blitzstein (2 March 1905 – 22 Jan 1964), Jule Stein (31 Dec 1905 – 20 Sept 1994), Meade Lux Lewis (4 Sep 1905 – 7 June 1964) - Topics inspired by the Pacific Northwest (i.e., Native American styles of the West or Northwest; Jimi Hendrix; grunge; Quincy Jones; Microsoft. . ..
Guidelines
Individual or joint papers should be no longer than twenty minutes. Performances should be no longer than thirty min- utes and may include a short lecture component. Presenters do not need to be members of the Society, but are required to register for the entire conference. Performances are not remunerated. The committee encourages proposals from persons who did not present at the 2004 meeting in Cleveland, but all proposals will be considered and judged primarily on merit.
All materials must be electronically date-stamped or postmarked by July 15, 2004, and should be sent to: [email protected], or Judy Tsou, SAM Program Chair, School of Music, Box 353450, University of Washington Seattle, WA 98195
* * * Opportunity to advertise * * *
MEMBERSHIP DIRECTORY AND HANDBOOK — 2004 Specifications and Rates for Advertisements
The Membership Directory and Handbook is published in the spring of each year with names and addresses current to mid-January. It includes each member’s preferred mailing address, institutional affiliation, telephone, e- mail and fax numbers as well as codes indicating fields of research interest. The list is indexed by state and zip code, and by the interest fields. The Directory also includes the Society’s bylaws, committee structures, and other useful information so it is referred to throughout the year. Circulation: 1,200 copies. About 150 of these go to libraries. SUBMISSION DEADLINE: March 1, 2004 To reserve, contact Mariana Whitmer at (412) 624-3031 or E-mail: [email protected]. Electronic copy (PC format only) encouraged. MECHANICAL SPECIFICATIONS AND PRICES Overall Page size: 8 3/8” x 5 3/8” (page height x width) Full page ad: 7 1⁄4” high x 4 1⁄2” wide Prices: last page, $150.00; inside page, $100.00
34 The Bulletin of the Society for American Music • Vol. XXX, No. 2 The Bulletin of the Society for American Music • Vol. XXX, No. 2 35 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 the Grants are available for student members website (www.american-music.org) or by Society for American Music each year for who wish to attend the annual conference contacting the SAM office. a book and article that, in the judgment of of the Society for American Music. These the awards committee, makes an outstand- funds are intended to help with the cost H. Earle Johnson Bequest for Book ing contribution to the study of American of travel. Students receiving funds must Publication Subvention music or music in America. Self-nomina- be members of the Society and enrolled tions are accepted. Application deadline is at a college or university (with the excep- This fund is administered by the Book February 15th. tion of doctoral students who need not be Publications Committee and provides formally enrolled). Application deadline is two subventions up to $2,500 annually. 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- the Business Meeting of the annual SAM Print Publications Committee and pro- that makes an outstanding contribu- tion to American music studies. The conference to a student presenter who has vides annual subventions of approximately written an outstanding paper for delivery $700-$900. Society for American Music announces its annual competition for a dissertation at that conference. In addition to the on any topic relating to American music. recognition the student receives before the The dissertation must be in English, and Society, there is also a plaque and a cash must be completed between 1 January award. and 31 December. Application deadline is February 15th.
T HE B ULLETIN OF THE Nonprofit org. S OCIETY FOR A MERICAN M USIC U.S. Postage PAID Pittsburgh, PA Stephen Foster Memorial Permit No. 5636 University of Pittsburgh Pittsburgh, PA 15260
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36 The Bulletin of the Society for American Music • Vol. XXX, No. 2