American Music in the Bavarian Countryside
The Bulletin — Larry Worster, Metro State College (Denver)
OF THE OCIETY FOR MERICAN USIC S A M The chamber and orchestral works FOUNDED IN HONOR OF O SCAR G . T . S ONNECK of Colorado composer Cecil Effinger (1914-1990) found new life at the Vol. XXXI, No. 1 Winter 2005 Summer Academy Kloster Seeon 2004 of the Young Munich Philharmonic Orchestra (www.jmph.de). For the fourth year in a row in its eight-year DAVID KRAEHENBUEHL history, the two-week academy took AND HIS DRUMFIRE CANTATA place at the Seeon Monastery in the idyllic Chiemsee district of Upper Bavaria (www.kloster-seeon.de). For —Charles Burkhart, CUNY, Emeritus two and a half weeks, ninety-five young musicians, aged eighteen to thirty, from On the evening of May 7, in a concert in that year returned permanently to twenty countries studied chamber and by Johannes Somary’s AmorArtis Europe. At Yale Kraehenbuehl headed symphonic music, augmented by spe- Chamber Choir and Orchestra at Blessed the Theory department, in 1957 founded cialized rhythmic studies and Alexander Sacrament Church on Manhattan’s the Journal of Music Theory (still a Technique workshops. The academy west side, New Yorkers had the long major periodical in the field), enjoyed a was divided into two segments, each of overdue opportunity to hear a major large, enthusiastic following among the which culminated in a series of public concert work—Drumfire: A Cantata students, and was given tenure in 1959. concerts. Against War—by the late American He was clearly established in a brilliant The integrated summer academy composer David Kraehenbuehl. The academic career, when, to everyone’s concept came out of the orchestra’s large audience gave the powerful half- surprise and chagrin, he suddenly 1996 Colorado tour. As director Mark hour piece an enthusiastic reception, resigned in 1960. Mast explained, “the concept of build- with many wondering why they had not This radical about-face sprang from ing an orchestra in such a short time by heard more of this composer’s music. Kraehenbuehl’s very deep and life- first building the relationships between Born in 1923 in Urbana, Illinois, long conviction of the need to improve the musicians in the intimate setting of Kraehenbuehl was given every American music education at the grass- chamber music enhanced by the study opportunity for musical and intellectual roots level. In an autobiographical of TaKeTiNa® and Alexander work growth and by his teens had developed sketch written much later, he wrote: into a brilliant pianist. While in the “I realized that, fulfilling as work with Army, a chance hearing of a recording a dozen or so outstanding graduate of Paul Hindemith’s Mathis der Maler students was, much needed to be done sparked a desire to study with that for young music students,’’ meaning composer, who was then teaching at young piano students. To this end Yale. Mustered out in 1946, he applied he joined in 1960 the piano-teaching the next year to Yale, where, through enterprise of Frances Clark and Louise a stiff competitive exam, he won the Goss in Princeton, New Jersey. With single remaining place in Hindemith’s them he founded and designed The small group of hand-picked students. New School for Music Study, and as the Hindemith would later call him “the School’s Music Director, he composed most gifted student I ever had.” a large body of teaching pieces for A charismatic teacher, The Frances Clark Library for Piano Kraehenbuehl taught at Colorado Students, much of which is still in print. College in 1950-53, then returned in Contained in a long series of small 1953 to Yale as an assistant professor on booklets arranged in very carefully the recommendation of Hindemith, who continued on page 6 continued on page 9 wants to carry it. If you’d like to hear it At the present time, there has not been Our State Songs in your area, all it might take is one phone the resounding swell of public enthusiasm call to your local station! for my project, so I haven’t explored the Each program features the official idea of producing the series on a set of —Jeff Brown, KTOO-FM, Juneau, Alaska song, or a medley of the different ones I’d CDs for commercial distribution, but I do been able to find, along with incidental think about it every now and then. In the Do you know your state song? Most information, such as various state sym- meantime, I stand ready to sing the praises people don’t. In fact, most people have bols and facts, and other songs that have of our state songs and to help pass them little clue that an official song even exists been associated with the state. along through the radio airwaves! for their state. Songs in general help make My core belief is that we all have a bit For more information about the up the mythology of our culture, and state of triviality in us— reflected in seemingly series, please see our website: www.am songs, whether they be trivial or not, help unimportant things as state songs. But if ericanstatesongbook.org or e-mail me define us historically, albeit not always you think your state song is “corny,” and directly ([email protected]) accurately. I think the same about my state song, Our state song, “Alaska’s Flag”, is we may have more in common with one Jeff Brown is the Co-Program Director, Music sung across our state in nearly every Director, and Production Director at KTOO- another than we think. The more we know school and in many official and unofficial FM in Juneau, Alaska. He has been appointed about each other, the easier it will be for gatherings. I like it. In fact, I liked it so Commissioner of Mirth by the Governor of us to get along. World peace through state Alaska. For a recent NPR “Day to Day” much that I began to research other states songs—I’m sure odder things have been interview with Jeff, visit: www.npr.org/rundowns/ to find their songs with the hopes of pro- segment.php?wfId=4076934 postulated. ducing a public radio series documenting them all. That project began close to 20 years ago. I found some states had a similar feel- ing about their official songs. Some even had more than one song (Tennessee has eight!). Some had been introduced into the national musical culture (“Georgia on My Mind” and “On Wisconsin!”). But The state song of Kentucky, courtesy of some states relegated their official song the Foster Hall Collection, Center for to historical status (“Carry Me Back to American Music, University of Pittsburgh Old Virginny”), and many lay forgotten Library System. and even unrecorded (“State of Maine Song” and “The Arizona March”, to name a couple). Since I love a challenge, I began my search. I found some recordings were easily available, but for some I had to dig deep - in libraries, museums, private collections. For some states for which no recorded version could be found, I found people in those states to record it for me. The Bulletin of the Society for American Music A couple of states have no official song at the present time, but have some in the running. I collected all those. Some states The Bulletin is published in the Winter (January), Spring (May), and Fall (September) have more than one song. I have most of by the Society for American Music. Copyright 2005 by the Society for American Music, those. After my collecting, I’ve found I ISSN 0196-7967. have a more complete collection than the Editorial Board Library of Congress! I found that the per- Interim Editor...... Mariana Whitmer ([email protected]) son who wrote the song for Pennsylvania had never heard a commercially available Bibliographer ...... Joice Waterhouse Gibson ([email protected]) recording. The person who owns the Indexer ...... Amy C. Beal ([email protected]) copyright to the California song had never Items for submission should be addressed to Mariana Whitmer, Society for American Music, heard it! Stephen Foster Memorial, University of Pittsburgh, Pittsburgh, PA 15260. All materials It took a while, but I finally collected should be submitted in printed copy, on disk, or as attachment to e-mail. Photographs or them all. The result is a radio series called other graphical materials should be accompanied by captions and desired location in the text. The American State Songbook. I’ve made Deadlines for submission of materials are 15 April, 15 August, and 15 December. it available free to any radio station that
2 The Bulletin of the Society for American Music • Vol. XXXI, No. 1 The Bulletin of the Society for American Music • Vol. XXXI, No. 1 3 April 2005 will mark the fourth annual new documentary on Milt Hinton, and a Jazz Appreciation celebration. Each year the celebration has program, through WTTW/Chicago, on the grown—last year people from 42 states NEA Jazz Masters. Month and 11 countries notified the Smithsonian The National Museum of American about JAM events in their localities. History each year distributes free posters —John Edward Hasse, Smithsonian Institution A search of Google shows that 3,600 to music educators and librarians. To websites include JAM. request the 2005 JAM poster, featuring April was chosen for two reasons. Tito Puente, please write [email protected]. In April 2004, in Duke Ellington’s First, April maximizes JAM’s educational The Museum also places full-page boyhood neighborhood on U Street in potential because it is the end of the public service announcements (PSAs) Washington, D.C., residents celebrated school year when schools can not only about JAM in approximately ten music jazz throughout the month. This effort participate, but student jazz ensembles magazines. In 2005, there will be radio involved schoolchildren, libraries, the can culminate year-long preparations and TV PSAs. city’s parks and recreation department, and play at their best. Secondly, April The popular website www.smithsonianjazz.org the public radio station, and other local is also the birth month of a number of includes more than 100 ways to celebrate Jazz organizations in activities that included leading figures in jazz: Duke Ellington, Appreciation Month, a directory of jazz societies, a parade, concerts, student productions, and an international Calendar of Events. Anyone Ella Fitzgerald, Bessie Smith, Johnny wishing to have his or her jazz event in April special broadcasts, and photographic Dodds, Billie Holiday, Charles Mingus, included should kindly send the information to: exhibitions. These events helped connect Lionel Hampton, Gerry Mulligan, Shorty [email protected]. the community to its unique cultural Rogers, Tito Puente, and Herbie Hancock. heritage. The impetus for these events Finally, April is also National Poetry was Jazz Appreciation Month. Month, and the long association of jazz Jazz Appreciation Month is a national and poetry (the Harlem Renaissance poets and international celebration of jazz, and the beat poets, for example) provides held each April. The concept is simple: additional programming possibilities designate one month for an annual public every April. spotlight on jazz. Jazz Appreciation An unprecedented coalition of Month (or JAM) is intended to draw government and non-governmental public attention to the glories of jazz as organizations has come together for both an historical and a living treasure. common cultural cause to support Jazz The purposes of Jazz Appreciation Appreciation Month. At the U.S. federal Month are to encourage musicians, level, the U.S. Departments of Education, concert halls, schools, colleges, museums, State, and Defense are supporting this libraries, and public broadcasters to offer initiative, along with the National special programs on jazz every April Endowment for the Arts, National and to draw greater public attention to Endowment for the Humanities, National the extraordinary heritage and history of Park Service, and the Voice of America. jazz and its importance as an American Broadcast partners are: National. cultural heritage. In addition, JAM is Public Radio, PBS, and BET Jazz, the 24- intended to stimulate the current jazz hour jazz channel. scene and encourage people of all ages NGOs include: the Academy of to participate in jazz—to study the music, American Poets, American Federation attend concerts, listen to jazz on radio of Musicians, the American Library and recordings, read books about jazz, Association, the Association of Performing and support institutional jazz programs. Arts Presenters, the Association of Public Designating a month for jazz offers a Television Stations, BMI, Chamber Music focus for awareness, a hook for the news America, the International Association media, and a platform for a nationwide for Jazz Education, the International celebration. Society for the Performing Arts, MENC: I thought up the idea in the late 1990s, The National Organization of Music and by 2001, the Smithsonian’s National Educators, and the Music Performance Museum of American History, where I Fund. Two foundations are supporting serve as Curator, was ready to announce JAM: the Ella Fitzgerald Charitable the initiative at a press conference Foundation and the Grammy Foundation. featuring Quincy Jones. In 2003, the Each of these stake-holders is doing Smithsonian secured legislation, passed its part to support JAM. For example, by the House and Senate and signed by the PBS has agreed to rebroadcast Ken President—Public Law 108-72—strongly Burns Jazz this April, and to offer a endorsing Jazz Appreciation Month. 2 The Bulletin of the Society for American Music • Vol. XXXI, No. 1 The Bulletin of the Society for American Music • Vol. XXXI, No. 1 3 R EMEMBRANCES
this approach, with its dedication to and recording. Fred was among, and Frederick Fennell frequently, the first to record the (1914-2004) transcribed music from orchestral, operatic and keyboard sources, provided symphonies of Hindemith and Persichetti, Stravinsky’s Symphonies of Wind — Donald Hunsberger, Eastman School of an introduction to serious concert hall Instruments, Lincolnshire Posy and Hill Music, Emeritus repertoire, it did little to formulate an original repertoire that the wind band Song No. 2 by Percy Grainger, the classic British military band works of Holst and When one considers the current could call its’ own. And, it usually Vaughan Williams as well as a plethora level of wind band repertoire and the provided little to each performer in his of street marches by Sousa, Goldman, highly advanced performance practice or her own personal development as a Alford and King, among others. skills in vogue, immediate attention must solo or individual performer. His tremendous interest and be drawn to the major contributions of In 1951, with his introductory concert excitement in researching, recording Frederick Fennell during the past half of original wind music, programmed and writing about band music of the century. If Fred had not developed the chronologically, of Willeart and Gabrieli Revolutionary War and Civil War eras wind ensemble concept in the early 1950s, through Mozart, Beethoven and Strauss produced a wonderful set of recordings what would today’s repertoire represent? to Stravinsky, Fred Fennell laid the on Mercury. This involvement had begun Would orchestral transcriptions still play groundwork for the introduction of a as a child in a family camp which had a major role in the wind band’s literature? new flexible wind ensemble concept. The a Fife and Drum Corps as part of its Would wind chamber music ever have word ‘flexible’ became a keystone upon “living history” activities. Fred, along been considered an integral part of wind which repertoire was planned, personnel with his best friend, William F. Ludwig, band programs? assigned, and size of ensemble was Jr., maintained throughout his life his Of course, it is impossible to project employed. One must consider the enormity skills as a rudimental drummer. This part such evaluations, but it does help bring to of this undertaking as the then-prevailing of this lifelong cycle was brought to a the foreground the many developments he approach to the concert band, military close at the Memorial Service for Fred originated or helped thrive. His constant band and the symphonic band was one of in Siesta Key on December 14, 2004 as emphasis on the importance of original stability of instrumentation and personnel; two rudimental drummers in Civil War compositions for the wind band, and the once players were assigned to a stand or uniform played a dirge Fred had written high level of performance skills necessary part, they remained there intact to perform for Bill and himself. They followed this to successfully present these works, set whatever music was selected. This led to with the famed Connecticut Half-time. standards and goals for all serious wind multiple doublings of instrumental voices, My personal relationship with Fred conductors and performers to emulate for which, in itself, created its own unique continued through the years in so many over fifty years. ensemble timbre. different ways. As his graduate assistant I first met Fred in early 1950 when Fred’s wind ensemble approach in ’58-59’ while working on a Master’s I was a high school trombonist and provided a resource pool of players degree; as his replacement in ’61-62’ – he was the Guest Conductor for the from which composers could draw those filling in for him while he and Dr. Howard Pennsylvania All State Band, held in necessary resources required for each Hanson took the Eastman Philharmonia to Hazleton, PA. As many, many performers piece. Part of the concept stated that Europe and Russia for 13 weeks on a U. of all ages throughout the country will single players were desired for each S. State Department sponsored concert attest, his energy and dynamic approach voice (with the exception of two B-flat tour; as the new fulltime conductor of was something few of us had ever clarinets to each part for traditionally the Eastman Wind Ensemble in 1965; as experienced before. Later that year, I scored works) and thus, the first a colleague working throughout the U. entered the Eastman School of Music to important distinction between the fixed S. in conducting workshops and in the study trombone with the famed Emory instrumentation ensemble and the new National Wind Ensemble Conferences; in Remington and immediately joined flexible ensemble became apparent: in Europe and Japan in WASBE activities, the only wind band in the School – the traditional band programs, the borrowed, and especially, during each time we were Eastman Symphony Band. transcribed music was the medium while able to bring him back to Eastman for a Fred was a true devotee of Albert the band itself was the message; in Fred’s particular celebration or reunion. Austin Harding, University of Illinois, new approach, the originally conceived He never forgot or diminished his love with whom he played at the Interlochen music became the message with the wind and affection for Eastman, and especially Music Camp while in high school, and ensemble serving as the performance for the Eastman Wind Ensemble. Even it was through Harding’s concept of the medium. after he had secured the position of then-prevalent 100+ piece symphonic Being part of those early days Principal (or Regular) Conductor of band that many wind players received of the EWE was exciting, with the the Tokyo Kosei Wind Orchestra in the their large ensemble experience. While Mercury recordings and the vast array of compositions available for performance 1980s, he constantly sent letters about
4 The Bulletin of the Society for American Music • Vol. XXXI, No. 1 The Bulletin of the Society for American Music • Vol. XXXI, No. 1 5 his activities there, suggesting new works results of his own convictions. to program with the EWE and eagerly He was a unique, singular figure in following our performance and recording American music who touched so many in activities. his own distinctive way. The large legacy he leaves to the serious music community lies, first of Fennell rehearsing the all, in the Mercury recordings he created Eastman Wind Orchestra with the EWE between 1953 and 1962. In (15 October 2004) addition to these sonic gems is the wealth of research and knowledge he penned (literally) about repertoire, especially in the Instrumentalist magazine. Once established in Japan, he and the TKWO undertook yet another vast recording program (these have been available on Kosei Publishing Co. CDs through Ludwig Music Publishers) and The Society for American Music this was later matched in the U. S. with The Society for American Music promotes research, educational projects, and the dissemination of infor- the series of discs he recorded with the mation concerning all subjects and periods embraced by the field of music in American life. Individual Dallas Wind Symphony. and institutional members receive the quarterly journal American Music, the Bulletin, and the annotated Advancing age is frequently a Membership Directory. Direct all inquiries to The Society for American Music, Stephen Foster Memorial, slowing period, an opportunity to step University of Pittsburgh, Pittsburgh, PA 15260; (412) 624-3031; [email protected]. away from the bright glare of stage lights, Officers of the Society but for Fred, each year merely provided President ...... Carol Oja President-Elect ...... Michael Broyles yet another opportunity to “get out there Vice President...... Ron Pen and get it right.” During the past year, Secretary...... R. Allen Lott he made another visit to Interlochen to Treasurer ...... George Keck conduct—for it was his dream and desire Members-at-large...... Susan Key, Gayle Murchison, Vivian Perlis, to be at NMC each year since he first went Denise Von Glahn, Wayne Shirley, Josephine Wright Editor, American Music...... David Nicholls there in 1931! Editor, SAM Website ...... Larry Worster Our last opportunity together was in Executive Director ...... Mariana Whitmer October, 2004 when he and Betty came Conference Manager ...... James Hines to Eastman for Alumni Weekend. Mark Standing Committee Chairs: Davis Scatterday, the EWE’s fourth Finance: William Everett; Long-Range Planning: Paul Wells, Development: Deane Root, Honors and and present conductor, provided the Awards: Dale Cockrell, 2003 Lowens Award (Book): Howard Pollack, 2003 Lowens Award (Article): Lenore Coral, Housewright Dissertation 2003: Susan Key, Mark TuckerAward : Jeffrey Magee, Membership: opportunity for Fred to conduct three of Karen Bryan; Conference Site Selection: Kay Norton; Nominating: Katherine Preston; Public Relations: his favorite Sousa marches on a EWE Liane Curtis; Book Publications Subvention (Johnson Bequest): James Deaville, Silent Auction: Dianna concert and also do a reading workshop Eiland; Publications: Paul Wells with the Eastman Wind Orchestra. While Appointments and Ad Hoc Committees: all the earlier agility might not have been ACLS Delegate: Dale Cockrell;Archivist: Susan Koutsky; Committee on Publication ofAmerican Music: apparent, the players in both ensembles Judith McCulloh; US-RILM Representative: Denise Von Glahn; Registered Agent for the District of Columbia: Cyrilla Barr knew immediately what he wanted and responded appropriately. Interest Groups: American Band History: Susan Koutsky; American Music in American Schools and Colleges: Christine His legacy of desiring only the de Catanzaro and James V. Worman; Folk and Traditional Music: Ron Pen; Gay/Lesbian/Bisexual/ finest and highest quality of literature Transgendered: David Patterson; Gospel and Church Music: Roxanne Reed; Historiography: Michael Pisani; for all forms of the wind band—chamber Music of Latin America and the Caribbean: Paul Laird; Musical Biography: Stuart Feder; Musical Theatre: through symphonic size—has focused Anna Wheeler Gentry; Popular Music: Kirsten Stauffer Todd, Philip A. Todd; Research on Gender and compositional and programming American Music: Liane Curtis; Research Resources:Alisa Rata; EarlyAmerican Music: David Hildebrand; 20th Century Music: David Patterson directions for the present and the future. Through his constant searching for Electronic Resources the most musical means with which to Listserv: [email protected] present these works to our audiences, Website: http://www.american-music.org he set performance standards for all to Annual Conferences emulate, forever raising the bar. And, with 31st Annual Conference, Eugene, Oregon the living example of his ever present Judy Tsou, Program Committee Chair enthusiasm and energy that was constantly Anne Dhu McLucas, Local Arrangements Chair on display, he demonstrated those positive November is AMERICAN MUSIC MONTH
4 The Bulletin of the Society for American Music • Vol. XXXI, No. 1 The Bulletin of the Society for American Music • Vol. XXXI, No. 1 5 taken were the Paluch officials by both Walks (New World Records #80584), “Kraehenbuhl” continued from page 1 composition and composer that they not superbly performed by Martha Braden, only awarded him first prize but also who has also published the scores (see calibrated increasing difficulty, offered him the post of music editor. In below). His style naturally first shows these attractive pieces, with titles his long association with the company the influence of Hindemith, later on of like “Rocking the Boat,” “Ramble,” (for which he later became managing Stravinsky and Schoenberg, but his own “Musing,” “Tantrum,” and including a editor and then educational director), voice is always distinctive. witty volume of Jazz and Blues, grew his many contributions included editing After his conversion, his composi- from a wonderful sense of the mind and and directing the publication of monthly tions increasingly reflect a religious imagination of children. Beyond note- parish worship aids as well as a quarterly inspiration. Among these are three reading and technique, the program also guide to liturgical practices called Aids choral works—The Betrayal, a motet taught musical understanding through in Ministry, the writing of many items cycle for Tenebrae; Petitions, a setting carefully graded—and enjoyable— of liturgical music and arrangements of the Advent “O” Antiphons; and In lessons in practical keyboard theory. of hymns, and the setting up of several Praise of Marriage: A Nuptial Triptych An essential part of the School’s computer programs. (Unfortunately, of Psalms—all from 1957. Shorter and mission was teacher training, offered the many thousands of parishioners more accessible choral pieces include both at the School and at short using the Paluch materials could have the a cappella Four Christmas Choruses “seminars” held on college campuses no inkling of Kraehenbuehl’s other, (with its very attractive setting of throughout the country. The latter far more significant, music.) While it Robert Herrick’s “The Star Song”) and involved much time spent on the road, is of course true that he took this job Four Christmas Madrigals for either but also helped Kraehenbuehl refine his “for the money,” it meant more to him female or male voices, both sets avail- pedagogical ideas. His approach was than that. He invested it with his cre- able from G. Schirmer, Inc. Also short not so much exclusively on letter-per- ativity and great abilities as a teacher, and practical are three anthems with fect performance, but on enabling the and performed it, as with every task he organ—Te Deum; The Heavens, They child to explore the keyboard, even to undertook, with total dedication. are Many; and Psalm 121—and the “compose.” By 1967 he was no longer Because National Keyboard secular, evocative City Scene (SATB a able to carry out his ideas under Frances Arts did for a time begin to take off, cappella, Greenwood Press), originally Clark, and therefore left the School to Kraehenbuehl eventually reduced his written for a ballet. form, together with two friends, a new work at Paluch, serving as an indepen- The Drumfire cantata, perhaps enterprise called National Keyboard dent consultant until 1996, the same Kraehenbuehl’s greatest choral work, Arts Associates. Since his original year NKA finally ceased operations. In comprised the second half of the May teaching materials remained with Clark, declining health, he died the next year of 7 concert. Premiered by the Princeton he now developed and marketed a a massive heart attack in Trempealeau, (NJ) Pro Musica under Frances Slade in second, entirely new and very compre- Wisconsin, where he had taken his fam- 1986, it was commissioned the previous hensive piano study program that was ily some years earlier in search of a less year by a friend and former student of again promoted through many seminars, expensive and stressful life. At the end, Kraehenbuehl’s, Goff Owen, Jr., who workshops, and recitals throughout the still struggling to make ends meet, he sent him a volume of poems and other United States and Canada. This enter- was living on social security. writings that his father, Goff Owen, Sr., prise never achieved the financial suc- In spite of his many talents and had composed while on a tour of duty in cess it deserved. Meanwhile he had to his many activities exploiting them, France during World War I. From these meet the needs of his family of, eventu- Kraehenbuehl never lost sight of his Kraehenbuehl chose several excerpts ally, seven children. primary mission—the composing of for his text. Of the work’s nine sec- A change in fortune occurred when serious concert music. The 150 such tions, four are brief descriptive pieces Kraehenbuehl, who had become a works he left reveal a fully mature for orchestra alone that alternate with Catholic while at Yale, entered in 1967 artist, master of all media, techniques, the sections for voices and orchestra. a competition held by the J.S. Paluch and genres sacred and secular—large These orchestral sections depict in turn Company of Chicago (a major publisher works for orchestra, chamber pieces of the four horsemen of the Apocalypse— and distributor of church music and mis- many kinds, solo piano music, songs, oppression, destruction, famine, and salettes) in which entrants were asked to and choral works. Nearly all his works death. Thus Kraehenbuehl takes the submit music to provide for the needs were commissioned, and all were per- young soldier’s reactions to the horrors of the new English liturgy. He submit- formed, many by distinguished artists. of war and situates them, so to speak, ted his Mass for the People of God, Some were published, but many remain under the eye of eternity. a simple but effective unison setting, in manuscript. Fortunately the com- After a sharply dissonant orchestral with organ, for congregational use. So plete concert piano works are currently outburst (“Oppression”), the chorus available on a CD entitled Random softly enters with short sighing figures
6 The Bulletin of the Society for American Music • Vol. XXXI, No. 1 The Bulletin of the Society for American Music • Vol. XXXI, No. 1 7 based on a consonant, A-major sonor- ity over a nervously pulsating tympani. the New York Philharmonic Society, This harmonic juxtaposition is typical A Century of the Theodore Thomas Orchestra, of the work as a whole: It is full of “dis- and Leopold Damrosch’s New York orienting” dissonant sounds symbol- Composing in Symphony. Traveling opera companies izing the unrelieved tension of war, but America: 1820-1920 had annual New York seasons, offering these are overlaid by frequently recur- productions of works only a few years ring consonance, especially A-major after their European premieres, at the —Raoul Camus elements arising in the vocal parts, same time that parodies of these same that provides a kind of tonal stability operas were featured in minstrel shows. From November 17 through 19, immediately accessible to the listener. Co-director Adrienne Fried Block 2004, the Music in Gotham project, a Moreover, the music’s phrases and sec- opened the three-day series, held in part of the Barry S. Brook Center for tions are simple and clear throughout, the Baisley Powell Elebash Recital Music Research and Documentation, making the work, for all its complex Hall of The Graduate Center of The hosted a series of lectures and concerts harmonies, easy to grasp and follow. City University of New York, with celebrating the wide variety and diver- “Why is war?” the chorus repeated- introductory remarks in which she sity of musical composition in America ly asks in the poignant fourth section, as gave an overview of the complete by European immigrants, resident visi- the baritone soloist recalls war’s bitter conference and the goals of the NEH- tors, and native-born composers. Co- fruits. The many mood changes in the funded Music in Gotham project. sponsored by the Institute for Studies next section are composed for the two PBS documentary music supervisor in American Music and supported by soloists as a theme with variations until and musicologist Rena Kosersky then the Baisley Powell Elebash Endowment the chorus cries out (A major again!) gave a very interesting presentation and the Graduate Center of the City to the soldier’s dead mother. With the entitled “Waltzing in Manhattan: University of New York, Music in final section hostilities have ceased, but Claudio S. Grafulla, Composer, Gotham directors Adrienne Fried Block the young man cannot forget the guns. Arranger, and Band Director.” Wayne and John Graziano succeeded in attract- On totally consonant F sharps the cho- Shirley brought the first day’s papers ing eminent scholars from America and rus softly ends the work with the words to a close with his charming presen- Europe to explore the vibrant musical “I hear them yet.” tation on “William Vincent Wallace life of New York City in the century Drumfire was not composed in as American Composer.” In his own following the War of 1812. This golden response to a particular war, and its inimitable way, Shirley, recently retired age of professional and amateur music- performance last May was not billed as from the Library of Congress, even making included opera and oratorio, an anti-war event, in spite of its obvious had the audience sing Wallace’s 1851 timeliness. Like all Kraehenbuehl’s seri- symphony and chamber music, band tribute to America, “The Flag of Our ous works, its message is universal. Its and minstrel shows, choral and solo Union.” The day ended with a concert expressiveness and great power to move concerts, visiting European artists, of piano and vocal music entitled “A and three professional symphonies, argue strongly that this composer’s music continued on page 11 deserves to be much better known.
This article appeared in slightly different form in the September 10, 2004, issue of COMMONWEAL under the title “MEET DAVID KRAEHENBUEHL / A composer worth hearing.”
www.davidkraehenbuehlsociety.org
provides a list of Kraehenbuehl’s complete works, published and unpublished, and information on how copies for performance and study as well as recordings can be readily obtained from the Music Library of Yale University, where his creative legacy is now permanently housed as The David Kraehenbuehl Papers. Also provided are audio clips of seven works, including Drumfire, plus information on how to obtain Martha Braden’s editions of the complete con- cert works for piano.
6 The Bulletin of the Society for American Music • Vol. XXXI, No. 1 The Bulletin of the Society for American Music • Vol. XXXI, No. 1 7 N EWS OF THE S OCIETY
Eugene Conference Update Proposed Change in Bylaws The Society for American Music Article 6, Section 1. Standing is pleased to welcome these new All the latest conference informa- Committees members: tion, including the final program, hotel, and travel information is available at The Board proposes a change in the Individuals: the SAM website (www.american- by-laws to make the Cultural Diversity Ruth Longobardi Richmond VA music.org)! Committee a standing committee, from Harry Raley, Jackson, MS an ad hoc committee. This change will Samantha Embrey, Takoma Park MD Highlights of the conference be voted on at the Annual Business Christopher Scales, Williamsburg VA Kristine Forney, Westlake Village CA include: Meeting in Eugene. Kenneth Marcus, Pasadena CA * Deep Listening Workshops with The purpose of the Cultural Diversity Peter Mercer-Taylor, Minneapolis MN our 2005 Honorary Member, Pauline Committee is to provide a forum for Jane Ellsworth, Columbus OH Oliveros, as well as a concert of her minority scholars to express ideas and music on Friday night. concerns related to cultural diversity within the Society. The Board invites * A concert of Twentieth Century Student Members: American Songs featuring works of all visiting minority scholars to a Justin Willsey, Sparks NV Pauline Oliveros, Libby Larsen, Lukas special reception at the conference in Jeffrey Martin, St. Charles, IL Foss, and Henry Cowell. Eugene, on Saturday morning. (Check Catherine Cooper, Los Angeles CA * A Presidential Forum with classical the program for exact location.) Cheryl Tobler, Silver Spring, MD music critic David Schiff of Porrtland, Aimee Mell SEattle WA Anya B. Holland, Richmond VA and rock music critic Ann Powers of The RENEW your SAM Membership Experience Music Project in Seattle. Sara Hoffee, Albion, IL * A recital of American songs by If you have not renewed your Robert FAllon, Berkeley, CA membership for 2005, this will be the Jennifer Taylor, Hamiton, ON soprano Maria Jette, sponsored by The last Bulletin you receive. Jonathan Waxman, Plainview NY Oregon Festival of American Music at Katja Kaiser, San Francisco CA The Shedd. Renewals are accepted online at Byron Sartain, Madison WI * A screening of a documentary film- www.american-music.org, via fax at Timothy Kinsella, Seattle WA in-progress on composer Lou Harrison (412) 624-7447, or by mail to: Monica Hairston, Brooklyn NY at the DIVA gallery. Thomas Malone, Brookline MA * Exceptional restaurants and Society for American Music Matthew Schildt, Kent OH Stephen Foster Memorial informal musical experiences. Bradley Hanson, Kansas City, MO University of Pittsburgh Joanna Hastings, Pittsburgh, PA As always, there will be shape-note Pittsburgh PA 15260 singing and the SAM Brass Band will William Harvill, Lawrence, KS Sundar Subramanian, North York, entertain at the pre-banquet reception. Questions? Ontario Hope to see you there! Call 412-624-3031 or email [email protected]
8 The Bulletin of the Society for American Music • Vol. XXXI, No. 1 The Bulletin of the Society for American Music • Vol. XXXI, No. 1 9 emy is unique in its format because of (1963). Fifth String Quartet (1963), “American Music” continued from page 1 the emphasis on chamber music. Other Intrada for Brass Quintet (1982), Sixth has proven over the last eight years of academies may include chamber music String Quartet (1983), and Suite for academies to be most beneficial to the as a side activity, but here we have a Strings (1948). In the middle of the development of these young orchestra separate faculty for chamber music first week, Effinger biographer, Larry musicians. In addition, we added a coaching in the first week. Chamber Worster, presented a lecture on the focus on a specific composer with a music qualities are essential for good composer, emphasizing his connection resident musicologist this year. I have orchestral playing. The development of to the Americanist school of composers been performing Effinger’s instrumen- a sense of individual responsibility in in the 30s and 40s and most particularly tal compositions often after discovering the small setting transfers to orchestral his relationship to Roy Harris. To set the his works ten years ago and have found playing that is the emphasis of the sec- stage for this discussion, a brief over- his connection with his homeland in ond week.” view of American music in the nine- Colorado sympathetic to the spirit of As well as pieces from the clas- teenth century was presented. Worster German music.” sical and romantic canon of chamber comments, “It was particularly gratify- During the first week, each student music, each student learned at least one ing to hear from the German students studied a variety of chamber works chamber piece by Effinger. The works that, although some of them might have under the tutelage of a chamber coach. performed included Autumn Afternoon, heard of certain American composers, In residence for the week were mem- composed by Effinger in November e.g., Louis Moreau Gottschalk or Roy bers of the Vogler Quartet, bassoonist 1945 in Biarritz, France when he was Harris, none of them had ever heard Helmut Jung, bassist Dorin Marc, horn- in residence at the American University, any of their music. In addition, they ist Wolfgang Gaag, and pianist Milana Pastorale for Oboe and Strings and had not really understood how deep Chernyavska. As Frank Reinecke of the Melody for Clarinet and Piano (1947), the connections ran between Dvorak’s Vogler Quartet explained, “This acad- Solitude for Oboe and Small Band compositions and African-American spirituals, nor how deeply his philoso- phies impacted American composition. I also don’t believe that they were aware of the breadth of art music in America outside of, perhaps, Gershwin or Copland.” Each day at the academy began with an hour of TaKeTiNa® instruction led by Fabian Bautz. After discovering the powers of rhythmic studies through Eurhythmics, Bautz became an assistant to Reinhard Flatischier, the creator of the TaKeTiNa® method. Bautz explains the method as follows: “The deep core of this method is rooted in many differ- ent and ancient cultures. The sessions guide the students to a place of stillness and joy where complex movements begin to organize themselves through the experience of chaos and disorder, where competition is no longer help- ful and the collective creates a field of confidence.” Each session is structured as a group exercise in a circle accompanied by drumming from his assistant. Bautz begins by establishing a foot pattern consisting of a series of beats of either equal or unequal length. Using certain chanted rhythmic mantra over the foot pattern, contrasting rhythms are intro- duced by clapping on various syllables.
8 The Bulletin of the Society for American Music • Vol. XXXI, No. 1 The Bulletin of the Society for American Music • Vol. XXXI, No. 1 9 S TUDENT F ORUM host the annual Student Forum dinner at Moving? Graduating? Conference Housing a local restaurant. Let the Society know about these important Are you a graduate student? Are you The Student Forum has also organized a changes in your life. SAM@american- planning to attend the Eugene, Oregon, panel entitled “So I Got the Ph.D.; Now music.org. SAM conference? Need to find a rea- What?: Entering the Academic Job sonably priced hotel room for the con- Market,” which will be held Thursday ference weekend? If you are interested morning. Our panelists will include in finding a hotel room, getting student Felicia Miyakawa, Middle Tennessee rates, and/or sharing a hotel room with State University, Sandy Graham, Back Issues of another graduate student in order to University of California, Davis, and split hotel costs, please email Laura Christopher Wilkinson, West Virginia American Music Pruett, co-chair of SAM Student Forum University. Each panelist has a unique at [email protected]. perspective on the academic job market, Back issues of American Music may be from first-year junior faculty to tenured obtained by contacting the University of Student Forum Conference professors, and will describe their own Illinois Press. Single issues are $15.00, Information personal experiences with finding and volumes $59.00. Orders must be pre- maintaining an academic position. paid with a check in US dollars, drawn The Student Forum has arranged sev- on a US bank, International Money eral activities for the upcoming confer- Following the panel discussion, the Order, Visa, MasterCard, or American ence in Eugene, Oregon. First, there Student Forum will hold a brief busi- Express. will be a brief opportunity to meet the ness meeting to discuss panel topics for generous donors who subsidize the the Chicago meeting and to choose a Send your order to: Journals Circulation Travel Fund over coffee at the Student new Student Forum Co-Chair. Manager, University of Illinois Press, Forum Break on Friday afternoon. On 1325 South Oak Street, Champaign IL Friday evening, the Student Forum will 61820. Or fax: 217-244-9910.
F UTURE C ONFERENCES
16-19 March 2006. Chicago, Illinois. Joint conference with the Center for Black Music Research. Westin Hotel River North Look for the Call for Papers in the next issue of the Bulletin.
1-4 March 2007. Pittsburgh, Pennsylvania. Joint conference with the Music Library Association Hosted by the University of Pittsburgh. Pittsburgh Hilton Hotel
2008. San Antonio, Texas Hosted by Trinity University.
10 The Bulletin of the Society for American Music • Vol. XXXI, No. 1 The Bulletin of the Society for American Music • Vol. XXXI, No. 1 11 the groundwork laid in the first week “American Music” continued from page 9 produced exceptional results. As Mast “A Century of Composing” continued from page 7 When the group has achieved the abil- explains, “The musicians have grown ity to simultaneously perform the two together through their initial work on Drawing Room Musicale” replicating a contrasting rhythmic planes, Bautz chamber music in the first week as typical nineteenth-century middle-class adds the element of singing short pat- well as developing their powers of event. Stephanie Jensen-Moulton, Julia terns that the group mimics. As Bautz concentration. Because of their respect Grella, and Paul Houghtaling, students explains, “The resulting performance of and trust for each other, and because in the CUNY doctoral program, gave ® elements in three rhythmic planes helps the Alexander and TaKiTiNa work exceptional performances of songs to solidify in the unconscious mind continue through this week, we are able by Amy Beach, Otto Dresel, John rhythmic concepts that relate to the to work intensively on this demanding Rogers Thomas, Mary Turner Salter music that the students play during the repertoire. I find that we are able to and Dudley Buck, all composers to be day.” During the rest of the day, Bautz make extraordinary progress in each discussed later in the series. Korean- observes the rehearsals and studies the of the three daily rehearsals. The end born Jin-Ok Lee provided an excellent scores to determine which rhythmic result is a performance of extraordinary and expressive piano accompaniment, elements will be difficult for the stu- quality.” Integrated with the sectional and Brazilian-born Vanessa Cuhna, dents and structures the following day’s and tutti rehearsals were preparations to another doctoral candidate, performed TaKeTiNa® session accordingly. He produce a recording of the works before piano pieces by Robert Goldbeck, Amy often works on specific rhythmic chal- the final invitational performance at Beach, and concluded the concert with lenges individually or in small groups the Young Euro Classic Festival in George Frederick Bristow’s fiendishly at the request of students throughout Berlin (www.young-euro-classic.de). difficult “Grand Waltz de Bravura.” the day. After successful three orchestral perfor- The second day began early Alexander work is integrated into mances in the vicinity of the Kloster, the with Michael Pisani’s “Composing the activities, both individually and in orchestra transferred to Berlin for the in the Theater: The Work of a Late the group settings. Twice during the culminating concert at the Konzerthaus Nineteenth-Century New York Music two weeks, each student works indi- Berlin am Gendarmenmarkt, recording Director,” a discussion of Robert vidually with Daniel Susstrunk, the for six hours before the evening con- August Stoepel (1821-87), an obscure resident Alexander instructor. Susstrunk cert. The packed house responded to the composer but important theatrical is able to establish relationships with quality of the performance and profes- music director of the period. In addi- the students that are extremely benefi- sionalism of the orchestra by demand- tion to biographical data on Stoepel, cial when he works with the groups in ing an encore. It was truly exceptional Pisani provided an extensive list of the rehearsals. As he explains, “Here at the to see the spirit of these young musi- principal theatrical composer-conduc- academy, I come to them where they cians grow from the small chamber tors working in New York during the live. That is to say that they are in a music circles, through the circles of period 1850-1910. He was followed by ® professional situation whether they are the TaKiTiNa sessions and informal Jill Van Nostrand, who gave a charming in my workroom with the other mem- social circles, to the circle of the orches- talk on “From ‘Dixie’ to ‘Striking Ile’: bers of their chamber ensemble or in a tra. For them to leave the academy with the Walk-Arounds of Dan Emmett and rehearsal. Many times while they are a deep understanding of the relationship Bryants’ Minstrels, 1858-1868.” While rehearsing with the orchestra, all I have of chamber and orchestral experiences “Dixie” is certainly universally known, to do is to touch them gently to remind and a significant encounter with the “Striking Ile,” a spoof on the mad rush them of how their body should be work- music of an American composer will to find oil, was pleasantly new to many ing. Many times those sitting close to truly have a deep impact on their lives. in the audience. Demonstrating the them will also become more aware of wide span of musical activities covered how their body is working.” in this series, Catherine Parsons Smith The second week of the academy and Marianne Betz followed this dis- was spent under the baton of Maestro cussion of minstrel shows by turning Mast rehearsing the orchestral reper- to opera. Making a distinction between toire: Effinger’s Landscape III, Joseph “Western” operas (Moore’s Narcissa Schwantner’s Concerto for Percussion or the Cost of Empire and Hanson’s and Orchestra, and Bruckner’s Third The Sun Dance Opera) and “Eastern” Symphony, in the original version. operas (Nevin’s Poia, Converse’s The Although the program was ambi- Sacrifice, Herbert’s Natoma, Hadley’s tious for such a short rehearsal time, Azora, Daughter of Montezuma and the quality of the performances in Cadman’s Shanewis, or the Robin the culminating concerts showed that continued on page 13
10 The Bulletin of the Society for American Music • Vol. XXXI, No. 1 The Bulletin of the Society for American Music • Vol. XXXI, No. 1 11 B ULLETIN B OARD School of Music Members in the News at USA Network, in New York City. He 1900 Belmont Blvd. is the author of the recently published Nashville, TN 37069 Kate van Winkle Keller and Deane Lost Sounds: Blacks and the Birth of [email protected] Root have been elected to membership the Recording Industry, 1890-1919 in the American Antiquarian Society. and co-author of the Columbia Master AAS is one of a number of American Book Discography, Volumes I-IV. Mr. DANCING FROM THE CENTER learned societies and historical organiza- Brooks has written many articles for The Society of Dance History Scholars tions, mostly founded in the eighteenth the ARSC Journal, the New Amberola Twenty-eighth Annual Conference and nineteenth centuries, that bestows Graphic and other publications. 9-12 June 2005 membership through formal election. Northwestern University, Evanston, IL They currently have around 850 mem- bers, including many top scholars in the Conference Announcements For further information, please see the field of American history and culture Society’s website:
12 The Bulletin of the Society for American Music • Vol. XXXI, No. 1 The Bulletin of the Society for American Music • Vol. XXXI, No. 1 13 Charlie Poole and the Roots of Country and Soothing Songs: Dudley Buck and Music” by Sony Music. The Music in the Victorian Art Song.” Other impor- Context Group’s portion of the program tant contemporary song composers now A LEGACY OF THE FOLK: will be entitled “Dynamic Legacies: nearly forgotten were introduced by Co- The Roots Recordings of John The Evolution and Transmission of director John Graziano who discussed Quincy Wolf, Jr. the Southern String Band Tradition.” “John Rogers Thomas, a New York Lyon College, Batesville, Arkansas Any questions may be directed to Matt Composer” and Patricia Woodard with April 12-14, 2005. Meacham at [email protected]. “Joseph Lincoln Hall’s Sacred Songs.” Hosted by the Lyon College Regional Important also was Sandra Graham’s Studies Center “A Century of Composing” continued from page 11 discussion of the African-American experience in her talk on “Composing The symposium will focus on the musi- Woman), Smith concentrated on the two in Black and White: The Songs of Sam cal genres found in the John Quincy former in her presentation “Composing Lucas.” The African experience was Wolf Folklore Collection, one of the Wild Indians in the American West, ca. further discussed in Carolyn Guzski’s South’s most significant individual col- 1912: operas by Mary Carr Moore and presentation on “Americanism Gone lections of roots music. Those genres are William F. Hanson.” Betz, on the facul- Awry? Henry F. Gilbert’s The Dance white mountain music, Delta blues, and ty of the Felix Mendelssohn Bartholdy in Place Congo at the Metropolitan shaped-note congregational hymns. Wolf Hochschule für Musik und Theater Opera,” complete with a synopsis of the and his students at Southwestern (now and organizer of a special Chadwick ballet’s plot and a color reproduction of Rhodes College) in Memphis made the exhibition in Leipzig, discussed that the proposed 1917 scenic design. recordings between the early 1950s and composer’s verismo opera in “Verismo With appealing recorded examples early 1970s over a geographic area that all’Americana: George Whitefield of works by Ignacio Cervantes, Miguel extended from northwestern Arkansas Chadwick’s The Padrone.” Especially Lerdo de Tejada and Eduardo Sánchez to northern Alabama. Wolf’s collection enjoyable was a brief video excerpt de Fuentes, John Koegel made a very of more than 500 tapes was donated to from a recent staged production. The colorful presentation entitled “Latin Lyon College in 1981. The symposium, contribution of German-Americans was Tinge or Mosaic? Mexican and Cuban which will take place in the days lead- addressed by David Francis Urrows in Composers and Songwriters in New ing up to the 43rd annual Arkansas Folk his discussion of “Aus der neuen Welt: York, ca. 1880-1920.” Comparing dif- Festival held in nearby Mountain View, Otto Dresel’s New York Lieder.” The ferences between rural and urban com- Arkansas, will include musical perfor- German contribution to American musi- posers, Stephen Blum’s “Composing mances as well as scheduled speak- cal life was also addressed by Nancy Music for Country Tastes, 1820-1920” ers. Scheduled symposium speakers Newman in her important discussion of presented nine genres of speech and include Charles Wolfe, W. K. McNeil, the Germania Society’s American tours writing about composition in the US. Fred Hay, and R. Paul Drummond. in 1848 through 1854 and its two impor- Perhaps falling somewhere between tant conductors, Carl Lenschow and Carl urban and rural was Edward Berlin’s Bergmann, “‘To Surround a Composer spirited presentation, complete with DYNAMIC LEGACIES: with Glory’: Works by Conductors illustrations from the original produc- THE EVOLUTION AND of the Germania Musical Society.” tion, “Not in Kansas Anymore: The TRANSMISSION OF THE Dealing with German influences at a Wizard of Oz on Broadway, 1903.” SOUTHERN STRING BAND later period, Christopher Bruhn pre- Covering more cultivated musical TRADITION sented “Refracting History: Ives and activities, Katherine Preston presented “Music in Mid Nineteenth-Century 8 April 2005 Emerson and the German Romantic New York: Louis Jullien, American The University of North Carolina at Tradition in American Music,” and Kati Orchestral Music, and George Bristow’s Chapel Hill Agocs discussed Leopold Damrosch’s Symphony in A major. Stuart Feder, Jullien Symphony” and Laura Moore Pruett discussed “A Christmas Eve to The Music in Context Group of the in his “Hanover Square ‘Accordion’ Remember: William Henry Fry’s Santa University of North Carolina at Chapel to Charles Ives,” posited a plausible Claus Symphony.” Hill seeks proposals for papers or lec- explanation for the existence of the vir- The conference ended on a very high ture-performances to be presented during tually inaudible concertino part in Ives’ musical level with Artis Wodehouse a conference that will take place at the Hanover Square. His presentation was playing Arthur Bird’s “Ten Pieces for university on Friday, April 8, 2005. The greatly enhanced and made meaningful Harmonium” on an period harmonium, conference, hosted by the university’s by a performance of that part on a con- and the Graduate Center String Quintet Southern Folklife Collection, will rec- certino by Allan Atlas. performing Charles Hommann’s String ognize the release of a compact disc box British influences were outlined by Quintet in F-sharp minor. set entitled “You Ain’t Talking to Me: Lee Orr in his paper on “Angelic Airs
12 The Bulletin of the Society for American Music • Vol. XXXI, No. 1 The Bulletin of the Society for American Music • Vol. XXXI, No. 1 13 I NDEX TO VOLUME XXX (2004)
—Compiled by Amy Beal 49. (Curtis, a), 2:27. Call for Papers (31st Annual “George W. Chadwick Personal names are identified as author Conference), 2:35. Sesquicentennial” (Morrow and Betz, or composer (a), compiler (c), editor (e), Camus, Raoul, a. “John Graziano a), 2:13, 34. performer (p), reviewer (r), translator (t), Receives Distinguished Service Award,” Gibson, Joice Waterhouse, c. “Some or subject (s); recordings and videos are 2:23-24. Recent Articles and Reviews,” 3:50-55. differentiated by the abbreviations rec “Celebrating New England “Gospel and Church Music Interest or vid; numbers refer to Issue Number: Romantics” (Schumann, a), 2:33. Group,” 2:27. Page(s). The editor welcomes criticisms Chadwick, George W., s (Getz and Great Britain, s, 1:8. and suggestions for future indexes. Morrow, a), 2:13, 34. Hartley, Marsden, s (Everett, a), 1: “Chris Strachwitz Named 2004 4. “2002 Irving Lowens Award for Honorary Member” (McCulloh, a), 2: Haughton, Ethel Norris, a. “Undine Best Book Awarded to Walter van de 21-22. Smith Moore: A Centennial Glimpse of Leur” (Spitzer, a), 2:22. Clark, J. Bunker, s (Craig, a), 2:17- the Making of a Musician,” 3:39, 42- “2003 Earle Johnson Bequest 18. 43. Publication Subventions” (Trochimczyk, Cleveland Silent Auction, 1:5. Index to Volume XXIX (2003) (Beal, a), 2:25. Cockrell, Dale, a. “Dvorak in Love c), 1:10. 2003 Kurt Weill Prizewinners (with Nashville),” 2:13, 18-19, 33-34. “J. Bunker Clark” (Parker, a), 2:17- Announced, 1:6. ______. “Lifetime 18. 2003-04 Rockefeller Fellows Begin Achievement Award Presented to “John Graziano Receives Residencies at the Center for Black Adrienne Fried Block,” 2:23. Distinguished Service Award” (Camus, Music Research, 1:6. “Connecting Outside the Academy a), 2:23-24. “2004 Mark Tucker Award Interest Group,” 2:27. “J. Peter Burkholder Receives the Presented to Larry Hamberlin” (Magee, Contributors, 1:9. 2002 Irving Lowens Award for Best a), 2:25. Curtis, Liane, a. “Gender and Music Article” (Laird, a.), 2:22-23. A Century of Composing in Interest Group,” 2:27. Kearns, William, a. “Daniel America: 1820-1920, 1:7. “Daniel Kingman” (Kearns, a), 2: Kingman,” 2:15. “American Band History Interest 15. Keck, George, a. “Report of the Group” (Warfield, a), 2:26. “Dvorak in Love (with Nashville)” Treasurer, Calendar Year 2003,” 2:30. Archive Reminder, 1:9. (Cockrell, a), 2:13, 18-19, 33-34. Keller, Kate Van Winkle, a. “Arthur ARSC-SAM 2004 Conference Eiland, Dianna, a. “Report of the F. Schrader (1925-2004), 3:40-41. Highlights, 1:1 Silent Auction,” 2:31. Kingman, Daniel, s (Kearns, a), 2: “Arthur Berger” (Broyles, a), 1:2. “Eugene, Oregon—The University 15 “Arthur F. Schrader (1925-2004)” Town Par Excellence!” (McLucas, a), Laird, Paul, a. “J. Peter Burkholder (Keller, a), 3:40-41. 3:37, 42. Receives the 2002 Irving Lowens Awards of the Society, 1:12; 2:36; Everett, William, a. “Marsden Award for Best Article,” 2:22-23. 3:56. Hartley: The Color of Sound in Kansas “Legacy—Consider Making a Beal, Amy, c. Index to Volume City,” 1:4. Charitable Bequest” (Bryant, a), 1:10. XXIX (2003), 1:11. Fourth International Conference on “Lifetime Achievement Award Berger, Arthur, s (Broyles, a), 1:2. Twentieth-Century Music, 1:7. Presented to Adrienne Fried Block” Betz, Marianne, and Jean From the Executive Director, 1:9. (Cockrell, a), 2:23. Morrow, a. “George W. Chadwick From Nieuw Nederland to New Lott, R.Allen, a. “Summary of the Sesquicentennial,” 2:13, 34. York: The Emergence of a New World 2004 Annual Business Meeting,” 2:28- Britannia (Re-) Sounding: Music in Culture in the Hudson River Valley, 1: 30. the Arts, Politics and Culture of Great 8. Magee, Jeffrey, a. “2004 Mark Britain, 1:8. From the President (Oja, a), 2:14; 3: Tucker Award Presented to Larry Broyles, Michael, a. “Arthur 38. Hamberlin,” 2:25. Berger,” 1:2. “Gay/Lesbian/Bisexual/ “Marsden Hartley: The Color of Bryant, Carolyn, a. “Legacy— Transgendered Interest Group” Sound in Kansas City” (Everett, a), 1: Consider Making a Charitable Bequest,” (Patterson, a), 2:27. 4. 1:10. “Gender and Music Interest Group” McCulloh, Judith, a. “Chris Bulletin Board, 1:5-8; 2:32-33; 3:
14 The Bulletin of the Society for American Music • Vol. XXXI, No. 1 The Bulletin of the Society for American Music • Vol. XXXI, No. 1 15 I NDEX TO VOLUME XXX ( CONT ’ D )
(Eiland, a), 2:31. Strauss’s Visit to the Kleines Städtchen Strachwitz Named 2004 Honorary “Report of the Treasurer, Calendar of Morgantown, West Virginia,” 3:37, Member,” 2:21-22. Year 2003” (Keck, a), 2:30. 45-48. McLucas, Anne Dhu, a. “Eugene, “Report of the Web Editor” Worster, Larry, a. “Report of the Oregon—The University Town Par (Worster, a), 2:34. Web Editor,” 2:34. Excellence!,” 3:37, 42. “Richard Strauss’s Visit to the Membership Suggestions, 1:9. Kleines Städtchen of Morgantown, Members in the News, 1:5; 2:31; 3: West Virginia” (Wilkinson, a), 3:37, 45- 49. 48. Moore, Undine Smith, s (Haughton, * * * Opportunity to advertise * * * SAM Brass Band, 1:5. a), 3:39, 42-43. Schimpf, Peter, a. “Student Forum,” Morrow, Jean and Marianne SAM Membership Directory and 2:20. Betz, a. “George W. Chadwick Handbook Schrader, Arthur F., s (Keller, a), 3: Sesquicentennial,” 2:13, 34. 40-41. Specifications and Rates for “Music in the Life of Sarah Schumann, John, a. “Celebrating Advertisements Childress Polk” (Wells, a), 1:4-5. New England Romantics,” 2:33. Music of America and the “Society for American Music Sea: Mystic Seaport’s 25th Annual Advertisements will be accepted for the History Project” (Von Glahn, a), 1:1-2. Symposium, 1:6. Membership Directory and Handbook. “Some Recent Articles and Music’s Intellectual History: Print run will be 1200 copies. Reviews” (Gibson, c), 3:50-55. Founders, Followers and Fads, 1:7. Spitzer, John, a. “2002 Irving New Bulletin Editor Sought, 2:14; Lowens Award for Best Book Awarded 3:44. SUBMISSION DEADLINE: to Walter van de Leur,” 2:22. New Members, 1:2; 2:20; 3:44. April 1, 2005 Strauss, Richard, s (Wilkinson, a), New Multi-Media Editor Appointed, To reserve, call Mariana Whitmer 3:37, 45-48. 1:4. (412) 624-3031 or E-mail: Student Forum, 1:3-4; 2:20; 3:44. News of the Society, 2:28-31; 3:44. [email protected] “Summary of the 2004 Annual “Non-Print Publication Subvention Business Meeting” (Lott, a), 2:28-30. Award Presented to AfroAmericanHeri Mail to: Society for American Music, Trochimczyk, Maja, a. “2003 tage.com,” 2:26. Stephen Foster Memorial, University of Earle Johnson Bequest Publication Oja, Carol, a. From the President, 2: Pittsburgh, Pittsburgh, PA 15260. Subventions,” 2:25. 14; 3:38. Tear sheets will be sent after publication. “Twentieth Century Interest Group” Old Issues Wanted, 1:8. (Patterson, a), 2:26-27. Oliveros, Pauline, a. “Prayer,” 3: “Undine Smith Moore: A Centennial MECHANICAL SPECIFICATIONS 38. Glimpse of the Making of a Musician” AND PRICES Parker, Craig, a. “J. Bunker Clark,” (Haughton, a), 3:39, 42-43. 2:17-18. Volunteering for the Society, 1:9. Overall Page size: 8 3/8” high x 5 3/ Patterson, David, a. “Gay/Lesbian/ Von Glahn, Denise, a. “Society for 8” wide. Photo-ready black and white Bisexual/Transgendered Interest American Music History Project,” 1:1- mechanical or Electronic files (PC for- Group,: 2:27. 2. mat only) required: ______. “Twentieth ______. “Wiley Century Interest Group,” 2:26-27. Housewright,” 2:15-17. Full page ad: 7 1⁄4” high x 4 1⁄2” wide “Performing Images, Embodying Warfield, Patrick, a. “American last page: $150.00 Race” Exhibition Held Over, 1:5. inside page: $100.00 Band History Interest Group,” 2:26. Polk, Sarah Childress, s (Wells, a), Wells, Paul, a. “Music in the Life of 1:4-5. Sarah Childress Polk,” 1:4-5. “Prayer” (Oliveros, a), 3:38. ELECTRONIC FILES ENCOURAGED “Wiley Housewright” (Von Glahn, Remembrances, 1:2; 2:15-18; 3:40- Submit jpeg, gif, or PDF files a), 2:15. 41. in PC format to “Wiley Housewright Dissertation Report from the Conference, 2:21- [email protected] Award for 2002 Presented to Mark 27. Clague,” 2:24. “Report of the Silent Auction” Wilkinson, Christopher, a. “Richard
14 The Bulletin of the Society for American Music • Vol. XXXI, No. 1 The Bulletin of the Society for American Music • Vol. XXXI, No. 1 15 AWARDS OF THE S OCIETY Irving Lowens Memorial Awards Student Travel Grants Further information is available at the The Irving Lowens Award is offered by Grants are available for student members website (www.american-music.org) or the Society for American Music each who wish to attend the annual confer- by contacting the SAM office. year for a book and article that, in the ence of the Society for American Music. judgment of the awards committee, These funds are intended to help with the H. Earle Johnson Bequest for Book makes an outstanding contribution to cost of travel. Students receiving funds Publication Subvention the study of American music or music in must be members of the Society and America. Self-nominations are accepted. enrolled at a college or university (with This fund is administered by the Book Application deadline is February 15th. the exception of doctoral students who Publications Committee and provides need not be formally enrolled). two subventions up to $2,500 annually. Application deadline is November 15th. Wiley Housewright Dissertation Award Mark Tucker Award Sight and Sound This award consists of a plaque and cash The Mark Tucker Award is presented award given annually for a dissertation at the Business Meeting of the annual This fund is administered by the Sight SAM conference to a student presenter and Sound Committee and provides that makes an outstanding contribution to American music studies. The Society for who has written an outstanding paper for annual subventions of approximately delivery at that conference. In addition $700-$900. American Music announces its annual competition for a dissertation on any to the recognition the student receives topic relating to American music. The before the Society, there is also a plaque dissertation must be in English, and must and a cash award. be completed between 1 January and 31 December. Application deadline is February 15th.
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