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The Bulletin o f t h e So c i e t y f o r Am e r i c a n Mu s i c f o u n d e d in h o n o r o f Os c a r G. T. So n n e c k

Vol. XXXIV, No. 1 Winter 2008 San Antonio Conference Update This promises to be a watershed conference for SAM, one that will forever expand our musical and scholarly horizons.

– Kay Norton, Program Chair Arizona State University

By now everyone should have received the exciting preliminary program for what promises to be our most eclectically American annual conference yet. SAM 2008 will be held 27 Feb.–2 March in San Antonio, Texas, hosted by Trinity University. Not only will there be an unprecedented number of papers and ses- sions devoted to “Spanish-speaking” music, but these will be integrated with topics of longstanding interest to our Society cooperation. Setting the tone of the loca- and Davy Crockett with U.S. reception of – musical authenticity, preservation, and tion and conference is the plenary session, ! In our poster sessions (a “Music in New Spain,” followed by sessions new conference feature), you’ll be inspired on topics such as “Pan-American Music by new perspectives on topics such as in this issue: Making” and “Transnational Experiences , early 20th-century sound- at the U.S.-Mexico Border,” and presenta- scapes, music of the slavery period, and Counterpoint | 03 tions on key figures such as Revueltas, stage music. Finally, we at once acknowl- Ginastera, Xavier Cugat, Bob Wills, and edge SAM’s past, present, and future in Remembrances | 06 . sessions devoted to MUSA’s 20th birthday, Faced with a plethora of diverse paper “research resources” that reinforce high- Saroni | 09 proposals, the Program Committee assem- lights of last year’s joint meeting with the bled a program that truly reflects SAM’s Music Library Association, and Thursday Brubeck | 12 understanding of “American,” which night’s traditional Sacred Harp sing fol- embraces “all of North America, includ- lowed by the screening of the new docu- Book Reviews | 14 ing Central America and the Caribbean, mentary Awake, My Soul: The Story of the and aspects of its cultures everywhere in Sacred Harp. You can feast your minds FCM | 18 the world.” Look for sessions that pair on old friends – Ives, Varèse, Eisler, Ethel rap with cowboy songs, with hillbilly, Waters, Cowell, Zorn, Wynton Marsalis, highbrow with lowbrow, urban with rural, continued on page 2 San Antonio Conference Update, cont. continued from page 1 and comedic barbs will be sure to titillate look forward to greeting you there. and inspire! And this year, SAM awards For hotel information, conference reg- Libby Larsen, , , this honor not within the confines of the istration, and the conference program, see Heinrich, Patsy Cline – or perhaps dis- conference walls, but at San Antonio’s the SAM website: http://www.american- cover new fascinations – King Biscuit, Municipal Auditorium in a double-bill music.org/. Registration deadline by mail: Cowboy Troy, Carl Muck, Rene La Roche, with the San Antonio . Talk 5 Feb. Rudolph Ganz, The Girls of the Golden about taking SAM’s message to the peo- West, Jimmy Scott. ple! Jim Worman, Director of Bands at Local arrangements chair Carl Leafstedt Trinity University, invites us to celebrate has planned a full schedule of activities. our passion for live performance in a terrific Our traditional Friday afternoon tours Thursday night concert at Trinity’s Taylor feature two fantastic options: “Shrines of Concert Hall. Piston’s Incredible Flutist Texas BBQ” for those who want to feed ballet, Stravinsky’s Ebony , and the body, and the beautiful San Antonio works by Dan Welcher, Morton Gould, missions (including the Alamo) for those and Sousa will be featured. In addition, who prefer to feed the mind. And don’t illustrious Samuel Adler, whose forget Saturday night’s banquet, which will life and experiences alone qualify him as feature good food and good music: After a walking archive of American concert dinner enjoy an evening of Tejano conjun- music, will be on hand to introduce two to performed by local legends and emceed of his works, The Force of Credulity and by Juan Tejeda, a leading authority (author Southwestern Sketches, in celebration of his of Puro Conjunto!) and veteran accordion- 80th birthday. ist. Remember to sign up for these on the All this excitement awaits you in beau- registration form. tiful San Antonio, whose location is cel- Program committee members Dale ebrated in the work of our Honorary Cockrell, Bill Everett, Sondra Wieland Members, “America’s Favorite Cowboys” Howe, John Koegel, and Leonora Saavedra and Grammy award winners Riders In join me in predicting that this memorable The Sky. Make plans to be in the audience conference will infuse the familiar words Friday evening, when SAM presents the of Bob Wills with a new and lasting sig- award to these first-rate musicians whose nificance: “Deep within my heart lies a faultless harmonies, spectacular yodeling, melody, A song of old San Antone.” We Riders In The Sky

f r o m t h e p r e s i d e n t

pours of rain over much of the country time one could hear a live performance of during the past several weeks. One way to Piston’s Incredible Flutist and Stravinsky’s beat the cold weather is to plan to come Ebony Concerto on the same program? Or to San Antonio during leap-year weekend. Riders In The Sky perform with the San As Kay Norton notes in her invitation, Antonio symphony? And there’s our usual this meeting will open our Society to a great banquet on Saturday evening. All in wider range of American musics than has all, this conference, our 32nd, is one that been heard before at one of our confer- should not be missed. ences. We’ve all been to conferences where If you haven’t already done so, please we were faced with a timeslot of papers remember to renew your dues as soon as that didn’t capture our interest, but in San possible. The Board has expanded mem- Antonio there will be an astonishing diver- bership categories and has reinstituted, for sity of topics that should satisfy everyone 2008, the lifetime membership. You can who attends. In fact, as I read the program, choose to pay it all at once or over a 5-year I am certain that the most frequent com- period. And if you’re out of ideas for a gift, plaint from attendees will be that there are why not send a year’s worth of JSAM to too many conflicts of interesting papers a friend, relative, or even a neighbor. Let occurring at the same time. In addition them know about SAM and our commit- As I write this, the holiday season is just to the papers and poster sessions, there ment to American music. about upon us. Cold weather has envel- are two wonderful events scheduled for I look forward to seeing all of you in oped most of the country and there have Friday afternoon and two imaginatively San Antonio been blizzards, ice storms, and great down- programmed concerts. When is the last — John Graziano

2 The Bulletin of the Society for American Music • Vol. XXXIV, No. 1 counterpoint

education as to what they can do with The project consisted of weekly classroom Editor’s Note: Susan Key’s Standpoint their training. The idea that students pur- activities that culminated in the students’ article in the Summer 2007 Bulletin has suing higher degrees should have only the creation and production of a series of radio generated some wonderful responses. If academy to turn to for employment is long programs that aired on a local station. you have an idea for a future Standpoint article, please contact the editor! outdated, but from personal experience, I Simply stated, the aim of HI–FI Voices understand that it remains the status quo is to examine the power of one’s voice. of career counseling for scholars across the My weekly classroom component intro- humanities. duced students to female composers and Musicology at the The Society for American Music is full performers from a wide range of musical Center of talented individuals and excellent schol- traditions, and the radio show component ars unaffiliated with colleges and universi- served as a constant reminder to students Susan Key’s Standpoint is a much-needed ties, or professors whose careers extend to think about voice, both the performer’s call to examine our profession and explore beyond the classroom. SAM is fortunate and their own individual ones. Similar to changes in the way we prepare others for to have as members archivists, band direc- Key, I have moments and insights from joining it. Her suggestion for musicologists tors, church musicians, dance instructors, my students’ participation that far exceed – and especially potential musicologists – editors, freelance writers, lawyers, librar- anything that I could have imagined. to examine the opportunities for careers ians, symphony outreach coordinators, For me, one of the greatest joys of outside of academia resonates very strongly program annotators, publicists, publishers, HI–FI Voices is the tangible connection with me: I have chosen to work in publish- and more. The richness of this member- between my musicological work and the ing rather than as a professor. My choice ship puts SAM in an excellent position for “real world.” Or, in the words of Key, has been greeted with both praise (“Good educating both professionals and students “[what I love] is being immersed in an for you, to find something you love, and as to the wealth of opportunities they have environment with people who are deeply you don’t have to deal with this terrible job in choosing a career in musicology. Let’s passionate not only about what they do but market!”) and derision (“You can’t accom- lead the way in showing that musicology also about creating something that speaks plish anything unless you’re in the acad- isn’t limited to academia any more than it to ‘real people.’” Jeremy Cohen, the found- emy”). Despite the stigma some scholars is to the so-called canon; that scholars can er of the Laboratory for Public Scholarship still assign to independent scholars, we are have diverse careers; and that scholars from and Democracy at Penn State, theorizes often quite successful, and our numbers those diverse backgrounds are welcome this kind of research: “Public scholarship are growing. Just ask SAM members Jewel and valued. commits academic and creative work to Smith, who holds an NEH Fellowship; the practice of effective student and faculty MUSA editor Joanne Swenson-Eldridge; – Kendra Preston Leonard engagement in public sovereignty and the Lynn Abbott, coauthor of Out of Sight: democratic process” (www.publicscholar- The Rise of African American Popular ship.psu.edu). Public scholarship reminds Music, 1889–1895; or Linda F. Williams, us that our work is not in isolation from coeditor of Black Women and Music: More Off the Wall society, but rather represents the contribu- than the Blues. tions of scholar-citizens with membership In 2003 I spoke as a member of a panel Unfortunately, what follows is not a review in a larger community. As scholars, we have of the American Musicological Society’s of the album that many consider to be the unique knowledge and training to help Committee for Career-Related Issues at Michael Jackson’s 1979 breakthrough solo our fellow citizens further understand how the AMS national meeting in Houston. effort. Instead, I take Susan Key’s “Scaling and why music integrally shapes the social The panel was called “Musicology on the Walls” as a point of departure, and fabric of our country. For Michael Jackson, the Side,” and featured several scholars, examine what a study of American music Off the Wall proved to be a record-breaking including Denise Gallo of the Library might look like “off the wall.” From my success that was only surpassed by his 1982 of Congress and Jim Zychowicz of A-R experience as a graduate student partnered Thriller, one of the greatest-selling albums Editions. It became clear to me at that with a high school class and a community of all time. For others, off the wall has a panel that musicology “on the side” was radio station, I share Key’s passion for inte- history of remarkable success, so I am eager a bit of a misnomer: We were all actively grating research and civic engagement, and to see what happens when SAM goes off engaged in research and publishing, prob- for creating a public scholarship methodol- the wall. ably as much as our affiliated colleagues. ogy. After all, they too have non-research duties With the generous support of the – Jenni Veitch-Olson and tasks assigned to them as parts of their Center for the Humanities at the UW University of Wisconsin, Madison positions, such as teaching and service (www.humanities.wisc.edu/grants/hex), work. What was equally clear to me, after I designed and implemented “HI–FI addressing a full room and receiving a line Voices,” a project that afforded low-income of students, adjuncts, and others interested and minority high school students the in alternative careers, was that musicolo- opportunity to participate in my scholarly gists as a whole need a more complete work on female singers and issues of voice. continued on page 4

The Bulletin of the Society for American Music • Vol. XXXIV, No. 1 3 counterpoint c o n t . s t u d e n t f o r u m

Transcriptions and by or large wind ensemble, Conference Update: either through trying their own hand at San Antonio Adaptations adaptation, or by introducing likely music With the 2008 conference quickly approach- to a receptive student or colleague. From ing, the Student Forum is looking for volun- the earliest day of the public school band teers to assist with activities in San Antonio. For nearly fifty years members of SAM movement through the era of the great If you would like to help, please email one of and the College Band Directors National touring concert band, wind transcription your Student Forum co-chairs, Vilde Aaslid Association have contributed transcrip- of masterpiece and novelty alike enlivened ([email protected]) and Sarah Gerk tions and adaptations of ’s the repertoire, engaged the performer, and ([email protected]). Here is some more music to meet the different requirements enthralled the audience. information for students attending the annual of school, college, and professional bands. meeting. A few months ago I was asked by Colonel – Jonathan Elkus Michael Colburn, the commanding officer Mark Tucker Award of the U.S. Marine Band, to transcribe for Outstanding for them the accompaniments for Conference Paper a chosen set of five Ives songs to be sung on the band’s recent tour of New England Students who will be presenting papers at and the mid-Atlantic. The set was pro- the San Antonio, Texas, conference and who grammed on fourteen – one-third – of wish to compete for the 2008 Mark Tucker the tour concerts and reached an audience Award should send their conference paper, of some 28,000 people. I’d like to suggest plus accompanying audio or visual material, that members of SAM become engaged in no later than 15 Jan. to: [email protected]. adapting American music for performance Roommate Search Travel to SAM meetings can strain your lim- The Bulletin of the Society for American Music ited student budget, so we offer a roommate The Bulletin is published in the Winter (January), Spring (May), and Summer (September) search service to help defray lodging costs. If you need a roommate for San Antonio, please by the Society for American Music. Copyright 2007 by the Society for American Music, email Judy Brady: [email protected]. ISSN 0196-7967. Editorial Board Silent Auction Editor...... Sandra Graham ([email protected]) The Society holds a Silent Auction at the Reviews Editor...... Brian Moon ([email protected]) annual SAM conference to benefit the Design and Layout...... Allison Gallant ([email protected]) Student Travel Endowment. Students have recently taken on greater responsibility in Indexer...... Laura Pruett ([email protected]) running the auction. We need volunteers Items for submission should be addressed to Sandra Graham, Music Department, to help with planning, acquiring materials, University of California, Davis, CA 95616, or, preferably, submitted as an attachment to and running the auction in San Antonio. e-mail. Photographs or other graphic materials should be accompanied by captions and This is a great way to get more involved and desired location in the text. Deadlines for submission of materials are 15 December, 15 to get to know other students in SAM. If April, and 15 August. you would like more information or would like to help, please email Vilde.

Corrections We look forward to seeing you in San Antonio! Please note the following corrections to the Summer 2007 issue. We regret the errors and will correct them in the online edition.

P. 26: The block quotation by Matthew Packwood at the end of the article (column 3) should extend to the next three paragraphs as well. P. 32: In the Bleak Midwinter is a reissue of the 1978 holiday LP originally titled We Come a Wassailing.

4 The Bulletin of the Society for American Music • Vol. XXXIV, No. 1 The Society for American Music is pleased to welcome these new members

The Society for American Music Students: The Society for American Music promotes research, educational projects, and the dissemination of infor- mation concerning all subjects and periods embraced by the field of music in American life. Individual Sarah Kahre, Tallahassee, FL and institutional members receive the quarterly Journal of the Society for American Music (JSAM), the Bulletin, Tonia Passwater, , NY and the annotated Membership Directory. Direct all inquiries to The Society for American Music, Lisa Hollenbeck, Oswego, NY Stephen Foster Memorial, University of Pittsburgh, Pittsburgh, PA 15260; (412) 624-3031; SAM@ american-music.org. Jane Mathieu, Austin, TX Officers of the Society Lisa Behrens, Rockville Centre, NY President ...... John Graziano Darius Johnson, St. Louis, MO Past President...... Michael Broyles Aaron Girard, Cambridge, MA Vice-president...... Mary DuPree Kevin Ryan, Ithaca, NY Secretary...... Jeffrey Magee Treasurer...... Paul Laird Molly Cronin, Cincinnati, OH Members-at-large ...... Beth Levy, Gayle Sherwood Magee, Kay Norton, Summer Benton, Napa, CA Michael Pisani, Howard Pollack, Larry Starr Laura Doser, Davis, CA Editor, Journal of the Society for American Music...... Ellie Hisama Aera Shin, Jersey City, NJ Editor, SAM Website...... Mark Katz Executive Director ...... Mariana Whitmer Jeffrey Wright, Chapel Hill, NC Standing Committee Chairs: David McIntire, Kansas City, MO Finance: Paul Laird; Long-Range Planning: John Graziano; Development: Deane Root; Honors and Maureen DeMaio, Santa Barbara, CA Awards: Mary Wallace Davidson; 2006 Lowens Award (Book): James Deaville; 2006 Lowens Award Mark Davidson, Santa Cruz, CA (Article): Mary Jane Corry; Housewright Dissertation 2006: Patrick Warfield; Mark Tucker Award: Lisa Jacob Cohen, , WA Barg; Membership: Karen Bryan; Conference Site Selection: Carol Hess; Nominating: Larry Worster; Public Relations: Vacant; Book Publications Subvention (Johnson Bequest): Jeffrey Taylor; Sight and Alicia Massie-Legg, Maryville, TN Sound: Kip Lornell; Silent Auction: Student Forum; Publications Council: Michael Broyles; Cultural John Hausmann, Erie, PA Diversity: Steven Swayne. Cesar Reyes, , NY Appointments and Ad Hoc Committees: Sarah Tomasewski, Cleveland ACLS Delegate: Michael Broyles; Archivist: Susan Koutsky; Committee on Publication of American Heights, OH Music: Judith McCulloh; SAM History Project: Denise Von Glahn; US-RILM Representative: Denise Von Glahn; Registered Agent for the District of Columbia: Samuel Brylawski. Interest Groups: Post-Graduates: American Band History: Susan Koutsky; American Music in American Schools and Colleges: Christine Ann Ommen, Monroe, OH de Catanzaro and James V. Worman; Connecting Outside the Academy: Joseph Horowitz; Dance: Renee Camus; Early American Music: Nicholas Butler; Folk and Traditional Music: Ron Pen; Gay/Lesbian/ Individuals: Bisexual/Transgendered: David Patterson; Gospel and Church Music: Roxanne Reed; Historiography: Michael Pisani; Music of Latin America and the Caribbean: Paul Laird; : James Mark Peters, Blue Island, IL Lovensheimer; Popular Music: Philip A. Todd; Research on Gender and American Music: Liane Curtis; Jason Robinson, San Diego, CA Research Resources: Alisa Rata; Twentieth-Century Music: David Patterson Annegret Fauser, Chapel Hill, NC Electronic Resources Michael Long, Buffalo, NY Listserv: [email protected] Maria Ferrante, Worcester, MA Website: http://www.american-music.org Burton Peretti, Brookfield, CT

Spouse/Partners: Annual Conferences Timothy Carter, Chapel Hill, NC 34th Annual Conference, San Antonio, Texas Mona Kreitner, Memphis, TN Kay Norton, Program Committee Chair Carl Leafstedt, Local Arrangements Chair International Students: 35th Annual Conference, Denver, Colorado Lara Housez, Ottawa, Canada John Koegel, Program Committee Chair Larry Worster, Local Arrangements Chair

The Bulletin of the Society for American Music • Vol. XXXIV, No. 1 5 remembrances H. Wiley Hitchcock by writing about a “real” musicological – Richard Crawford, Carol J. Oja, topic (one that he continued to pursue and Judith Tick for the rest of his life), then turned his ray increasingly on American sound- H. Wiley Hitchcock, a pioneer in scapes. Austin, Southern, Hitchcock, mapping new terrain for American and Hamm each found different ways music scholarship, died in New York of distinguishing themselves. With City on 5 Dec. 2007. Hitchcock first Wiley, the breadth of his impact came sounded a challenge to the academic from a deep engagement with compos- and Eurocentric discipline of histori- ers and music of the present day, even cal musicology in the late 1960s, par- as he served as architect-in-chief of ticularly through an elegant synoptic an infrastructure to support American text, Music in the : A study of all historical periods. Historical Introduction (1969; 4th edi- Even before the Bicentennial spot- tion, 2000). His vision fueled activism light started to illuminate the American during the decade of the Bicentennial. musical past, Wiley had the courage to In 1971 he became founding director write critical assessments of contempo- of the Institute for Studies of American rary music. He did so as part of a com- Music at Brooklyn College (CUNY), munity of musical intellectuals that ambitiously devising programs to help had yet to atomize into specialties such jump-start a new field of scholarship. as theory vs. history vs. style analysis Sponsoring conferences and visiting vs. cultural studies, and he remained a professorships, publishing a widely holistic scholar, suspicious of either-or circulated newsletter, and supporting approaches to American repertories. scholarly monographs and dissertations His theoretical formulation of “vernac- about American music, I.S.A.M. stimu- ular” and “cultivated” musics laid out a lated and fostered work representing framework broad enough to encourage the field’s full breadth and diversity. In Series, and Recent Researches in American scholars and students alike to consider recognition of Hitchcock’s achievement, Music (A-R Editions). both, and to understand that interactions the Institute will be renamed after him. This is only a partial list of his achieve- between them are fundamental to our Born in Detroit, Michigan, in 1923, ments in American music, and it includes culture. Wiley was always more interest- Hitchcock was educated at Dartmouth none of his highly respected scholarship ed in building bridges than in patrolling College and the . on the Baroque. Our goal here is not to boundaries among academic fiefdoms. He began his 40-plus-year teaching career catalogue Wiley’s myriad activities, but An advocate for the most so-called elitist at Michigan, then went on to the City rather to reflect on his personal impact on modernist music, he also understood the University of New York in 1961, where he us and on the study of American music at artistry of a Billings anthem, a Berlin bal- taught first at Hunter College and even- large. lad, a album. He knew why all tually at Brooklyn College. He was also Members of SAM know well the ground- these things mattered because, as an avid among the inaugural faculty of the Ph.D. breaking deeds of Oscar Sonneck, Gilbert listener and true music lover, they mattered Program in Music at CUNY’s Graduate Chase, Irving Lowens, and many others to him. School. When he retired in 1993 as in shaping a discourse about America’s One link fundamental to Wiley’s con- CUNY Distinguished Professor, he stood musical traditions. But within the post- sciousness was the bridge between the as a leader in two scholarly realms: one in war American university, four figures music of the Old and New Worlds. Trained American music studies and the other in born within a five-year span stand out for as a pianist (he also admitted to playing French and Italian Baroque music. He had their extraordinary efforts to win cred- dance-band “in high school”), served as president of the Music Library ibility for the study of home-grown tradi- he studied the European classics, and, in Association, the American Musicological tions. In order of birth, they are William his early classroom years, did much of Society, and the Charles Ives Society; Austin (1920–2000), Eileen Southern his teaching in undergraduate (required) co-edited The New Grove Dictionary of (1920–2002), H. Wiley Hitchcock music history courses. As music critic for American Music (with Stanley Sadie); (1923–2007), and Charles Hamm (b. the Ann Arbor News in the 1950s and early served on editorial boards of New World 1925). All won their spurs with disserta- 60s, he reviewed performances of standard Records and Music of the United States of tions on European subjects. Wiley’s subject concert fare: symphony orchestras, vocal America; and was founding editor of three was the Latin oratorios of Marc-Antoine and instrumental recitals, , series: Earlier American Music (Da Capo Charpentier (c. 1636–1704). Or, as he was Press), the Prentice Hall History of Music fond of putting it, he got his “union card” continued on page 7

6 The Bulletin of the Society for American Music • Vol. XXXIV, No. 1 continued from page 6 and the like. A reader of his reviews came to expect the very qualities that made him an outstanding teacher, including accurate information clearly presented, a palpable sensuous response to the music, and com- ments about the music that seemed to speak for critic, composer, and listener – if indeed the latter could have put their responses so precisely into words. (One tart assessment that caught at least one reader by surprise was Wiley’s designa- tion of Beethoven’s “Consecration of the House” overture as “a potboiler.” Having been reduced to full-body goose pimples by a Toscanini recording of this driving contrapuntal sprint, the reader begged to differ. But such was the authority of the critic’s knowledge and personality that the reader – also a student of Wiley’s at the time – ended up questioning his own taste, and the debate about Beethoven’s overture, which never actually started, is now on eternal hold.) Colleagues at Brooklyn College in 2006 (left to right): Christoph Kimmich, President; Tania Léon, The larger point, though, was that, dur- Distinguished Professor of Music; Nancy Hager, Acting Provost; Wiley Hitchcock, Distinguished ing his years at Michigan, Wiley was fully Professor Emeritus engaged with “music history” as academia then defined it – meaning the European students to discover their own strengths, to scholars but to composers, performers, classical tradition and its various offshoots, knowing that their work would eventu- teachers, and librarians. When in Music manifested in the concert hall but also ally come under his eagle-eyed scrutiny. in the United States he wrote of Foster’s including the byways (e.g., the early Italian And did he scrutinize! As Kitty Preston household songs as showing “gentle ten- and French Baroque) that musicology was said recently, “we learned to write from derness, or temperate gentility,” he turned exploring – and he always saw American Wiley.” The “learning” was modeled on a phrase that could also describe his own music within that larger picture. In other an age-old apprenticeship method, where prose, especially when writing about the words, Wiley was a thoroughgoing cosmo- writing got edited vigorously. We rewrote. music he loved the most. politan: a fitting partner, it may be noted, And rewrote. There weren’t many face- Yet at heart, Wiley was a modernist. In to Janet Cox-Rearick, his wife of more to-face discussions about what needed to the first half of the 1960s, he contributed than four decades and a distinguished his- be changed, rather it was modeled on the to “Current Chronicle” of The Musical torian of Renaissance art, as well as a true page. Quarterly, providing on-the-spot assess- lover of music. That sensibility, together One of the benefits of being a Hitchcock ments of the ONCE festival in Ann Arbor, with what many saw as his aristocratic student was that it brought lifetime access of the music of Morton Feldman and Earle bearing, his accomplished musicianship to his intellectual honesty. Work continued Brown as heard in New York’s Town Hall, (he could score-read, apparently at sight, to be critiqued vigorously, and for those of a performance of an oratorio by Robert multi-voiced motets of the Renaissance), lucky enough, a lifetime friendship took Palmer at Cornell, of a series of concerts made him a formidable figure. His com- root. Even after retirement, Hitchcock organized by at SUNY Buffalo. bination of traits – a charismatic physical added ever-younger scholars to his circle, He pursued the movers and shakers of presence, impeccable manners, skill at get- continually finding ways to keep up with America’s avant-garde, chronicling their ting across what he wanted to communi- the latest scholarship and satisfy his need newest contributions and seizing an oppor- cate, and command of an enormous store to work with the newest generation in the tunity to be at the center of the action. of musical knowledge – could make him field. Amidst all this interpretation of 20th- seem unapproachable. Yet he often had a A of a writer, Hitchcock century music, Hitchcock had a special quip at hand to ease any tension, and as approached the Newsletter of the Institute affinity for the music of Charles Ives. the decades passed, he grew more openly for Studies in American Music as though It is fitting that one of his last major genial. Maybe there’s a paradox here: a role it were the New Yorker – crafting gem-like works of scholarship was an impeccable model hardly to be topped, but also a sense essays about topics great and small. Gracing and somewhat risk-taking edition of Ives’s that one could never measure up to his its pages with consistent wit, Hitchcock vocal music. Almost four decades earlier, example or his standards. His mentoring devised the Newsletter to track trends in he had helped frame an enduring con- style reflected a belief in personal respon- an emergent field of scholarship, doing so text for this composer’s achievements at a sibility. Far from a hovering presence, in an era before e-mail and affinity-lists. time when their scope and challenges were he took a less-is-more approach, leaving He intentionally reached out not only continued on page 8

The Bulletin of the Society for American Music • Vol. XXXIV, No. 1 7 remembrances c o n t . continued from page 7 Henrietta Yurchenco barely understood, let alone appreciated. Music in the United States was the first – John Graziano general history to accord Ives a central role, devoting an entire chapter to him. There, Henrietta Yurchenco, who passed away on Hitchcock posited Ives as a fearless inno- Sunday, 9 Dec. 2007, was an unusual lady! vator who refracted nineteenth-century She was an all-around musician (an eth- Transcendentalism, “vernacular” reperto- nomusicologist – when few existed), with ries, and “cultivated” concert traditions expertise in so many areas of American into a precocious if sometimes chaotic music that she defied categorization. She amalgam, one bursting with “open-mind- was a pioneer broadcaster on New York edness and freshness.” The Charles Ives City’s radio station WNYC from 1939 Centennial Conference (1974), co-orga- through the 1960s. Her guests includ- nized with Vivian Perlis at , ed (whose biography A served as a paradigm for a balanced and Mighty Hard Road she wrote in 1970), internationally grounded approach to , Leadbelly, and , scholarly advocacy. And the Charles Ives among others. In the 1940s she traveled Society, under Hitchcock’s leadership, pro- to remote areas of and Mexico, duced editions of the composer’s music, accompanied by several hundred pounds of easing accessibility to it on the concert recording equipment, to record the music stage and in the classroom. of native Indian tribes for the Library of As students of Wiley, we all faced his Congress. very high standards. Who could live up I met Henrietta at the City College of books are Around the World in 80 Years to them? It was unthinkable not to try. New York in the late 1960s. Although we (2002) and In Their Own Voices: Women in We also reveled in his rollicking sense of were both new to the music department, the Judeo-Hispanic Song and Story, which humor, which flourished right up until the I was just a beginning lecturer; Henrietta, is accessible on her website: www.henriet- end. In the custom of posthumous tributes, because of her “life experience,” joined as tayurchenco.com. Her personal collection we are proud to sign off as among Wiley’s an associate professor. In addition to devel- of field recordings, notes, and papers is “survivors” – as his academic offspring, oping and teaching courses in now part of the American Folklife Center grateful for his model of broadly human- (a novelty in academia in those days), she of the . istic scholarship and his persistent dedica- organized an ensemble, Ground, Henrietta was an inveterate party giver. tion to building a sense of community. that performed music associated with the Her apartment, with a great view of the liberal causes she espoused. Doris Dyen Hudson River, was the meeting place where and Deane Root recall the first SAM meet- all her old and new friends congregated ing she attended in 1987, when she brought several times a year. Though her health her entire class of students from the City began to fail about two years ago, she con- College to sing labor songs, accompanied tinued to have these gatherings, where her by her first-person recollections of writ- long-time Common Ground friends sang ing music for the picket lines. Henrietta and performed and her new friends joined was a dynamo. She was always in motion, in. Early this fall, I visited Henrietta. She always suggesting new courses, and always was housebound, hooked up to an oxygen followed by her devoted students, many of tank, but hard at work collaborating on whom have remained in regular contact a new book. As I entered her bedroom, with her over the years. where she was now “holding court,” the After her “retirement,” Henrietta con- Henrietta I’ve known for all these years tinued to write books and articles and was well in evidence, as she smilingly told travel to Mexico to continue her research. me that while she was not able to get out In 2005, I attended a wonderful ceremony of the house, she was still “all piss and vin- at the Mexican consulate, in which she egar.” I will miss her greatly. was awarded the XXX designation by the Museo de las Bellas Artes. In honor of her continuing research and her recordings of the indigenous peoples of Central America, the sound division of the National Archives of the Indigenous Peoples of Mexico was Wiley with Carol Oja and at the named the “Fonoteca Henrietta Yurchenco” Cowell Centennial Festival, 1997 in December 2006. Her latest published

8 The Bulletin of the Society for American Music • Vol. XXXIV, No. 1 Herrman S. Saroni (ca. 1824-1901) and the “first” American

early 40s, principally for economic rea- Caroline Frederica Bartlett, in New Haven, – David Francis Urrows sons. Also in this group were the pianist CT, in 1850. Hong Kong Baptist University and music dealer William Scharfenberg For reasons unknown, but perhaps due In the Fall 2007 issue of The Bulletin, the (1819–95), and the conductors Henry to his weakening grip on the Musical Times Performance Calendar mentioned “The Timm (1815–92) and (known by that impersonal name from first American operetta, Julius Eichberg’s (1816–82). Political refugees coming from November 1851) or his endless feuds with The Doctor of Alcantara” (1862). Leaving 1847 onward included the cellist and con- other musicians in the press, Saroni first aside some early ballad , and ductor Carl Bergmann (1821–76) and the gave up his sole editorship and then quit itself, this rang a false note to me. Could pianist-composer Otto Dresel (1826–90) entirely in mid-November 1851.11 He left that really be the first American operetta? – this much larger group of immigrants is New York – a city burdened by rampant A quick look at a small calf-bound volume known as the “Grays” (Grauer).5 In addi- inflation in 1851 and 1852 – for good in on my bookshelf showed that 1862 was at tion to editing Saroni’s Musical Times, 1852 and moved south. In 1855 he found- least two years too late! The honor would Saroni made “an important contribution ed the third oldest orchestra in the U.S., seem to belong to Herrman S. Saroni and to the growing awareness of chamber music the Columbus (GA) Symphony Orchestra. his operetta The Twin Sisters (Boston: … [he was among] the first to present pro- While the orchestra had to disband dur- Oliver Ditson, 1860). Saroni is an over- grams consisting mainly, if not entirely, of ing the Civil War (and during both world looked figure in the history of American chamber music since ’s wars) it is still a thriving organization and music, and much still needs to be done to abortive attempt in 1843.”6 This took the one of the few places where the name of uncover the story of this multitalented, shape of a series of chamber music soirées Herrman Saroni lives on. (Unfortunately, peripatetic musician, composer, publisher, that he organized in New York in late no archival material from the early years and impresario. This article introduces 1849 and 1850. His rota of musicians for of the orchestra seems to survive, which Saroni and briefly reviews The Twin Sisters these concerts included Dresel, the - might provide more data on Saroni.) A as an early example of American operetta. ist Joseph Burke (1819–1902), Eisfeld (on few years later, he was in Huntsville, AL, Herrman S. Saroni was born in the violin), Scharfenberg, the French cellist where the 1858–60 City Directory lists an Duchy of Bernburg about 1824. The Alfred Boucher, the singer Julia Northall, “H.A. Saroni, music teacher.” In 1858 he exact date of his birth has not yet been and others. remarried; his wife was an Englishwoman determined.1 The unusual spelling of his Saroni’s own publications include a named Anna (or Annie) Dill (the ‘A’ in given name, with two r’s, was confirmed number of lighter works, such as parlor the Directory may refer to her, as in H. & by his signatures on his U.S. naturalization songs, marches, dances of various kinds A. Saroni; I do not know what happened documents, now at the Madison County (the Library of Congress has imprints of to his first wife.) It must have been some Courthouse, Huntsville, Alabama.2 Of about 50 items of this sort by Saroni), and time before 1862, either in Huntsville or his early years, nothing is known for cer- also several rather scholarly works. One Marietta (see below) that Saroni wrote tain. However, in Saroni’s Musical Times, of these, the Musical Vade Mecum (1852), his one-act operetta The Twin Sisters. The an early and important (if short-lived) is a one-volume history and theory of work is scored entirely for women’s voices, American music journal that he edited (Western) music.7 He also translated and reflecting his female community of stu- and published in New York between 1849 published one of the first English-language dents and also possibly a Civil War–period and 1851, he frequently included bits of editions in America of A.B. Marx’s Die shortage of male voices. There are six solo semi-historical fiction (or historical semi- Lehre von der musikalischen Komposition, roles, in addition to several speaking roles, fiction) that hint at aspects of his early also in 1852.8 Saroni wrote poems and pub- and the SA chorus variously impersonates life. If one of these semi-autobiographical lished short stories in the popular “ladies schoolgirls or “Gipsies.” pieces is to be trusted, he may have been books” of the 1850s.9 All in all, Saroni was The plot hinges on the old topos of the the son of a poor but cultured clergyman, one of many talented literary and musical abducted child. Mab Stanley, the “May and had his first music lessons on a harpsi- German émigrés who helped to steer the Queen elect,” laments the loss of her twin chord, presumably because the family was axis of antebellum American musical life sister, Florence, carried off by the Gipsies too poor, in the 1820s, to afford a piano.3 in such a direction that Germany was at three years previously. The Gipsies now Where he studied music is not known, the opposite pole. Nevertheless, Saroni return to the scene of the current May festi- but a persistent (though unsubstantiated) became a German-American at an early val, with Esmeralda (the missing Florence) claim has it that he was a student of Felix date.10 He applied for naturalization in in tow. The Gipsies have apparently bru- Mendelssohn.4 1844. And unlike almost all of the work- talized her somewhat and treated her as Saroni immigrated to the United ing-class German immigrants who came a cash cow: “A good card she has proved States about 1844, along with his brother to America in the 19th century, educated to us in spite of her unwillingness to sub- Adolph, and was one of a large group émigrés like Saroni and his colleagues fre- mit to our laws,” as the First Gipsey says of German immigrants known as the quently married outside of the German in a dialog segment. These exotic Others “Greens” (Grüner) who emigrated from community, usually Americans or Britons. give Saroni an excuse to insert a number German-speaking lands in the 1830s and Saroni married the first of his two wives, continued on page 10

The Bulletin of the Society for American Music • Vol. XXXIV, No. 1 9 poser, if not original. In the Civil War era, it must have been a delight for teenagers to take part in a production of The Twin Sisters, with its exotic costumes, mysterious plot, and charming, “piquant” music (to use a term in vogue then.) While he probably wrote it for his students (and the small for- mat score suggests it was intended for sales to schools), professional singers could just as well take it on. (The role of Mab is clear- ly written for a trained adult singer playing a teenager.) Music, staging, plot, costumes, and dialog certainly make it a true operetta – its small scale notwithstanding – and one that seems to predate Eichberg’s Doctor by several years. (Although the published version is only a vocal score with piano accompaniment, the music is clearly writ- ten in a piano reduction style, and could easily have been orchestrated.) Saroni also wrote another operetta for women’s voices, Lily-Bell, The Culprit Fay (Chicago: Root & Cady, 1868). It would be interesting Example 1 to trace a performance history (if any) of both these works. Saroni’s later life is as murky as his earlier days. After his second marriage he seems to have continued teaching in Alabama for a few years. At some point he moved to Marietta, OH, though I have not discovered if this was before, during, or after the Civil War. The fact that The Twin Sisters was published in Boston, and Lily- Bell in Chicago, both by northern publish- ers, suggests that he moved by the begin- ning of the war. Besides, given the known political leanings of German émigrés of Saroni’s cultural background, there were very few who supported the Confederacy. I have also uncovered several strange patents granted to Saroni in the postwar years: these were for something called a “Burner Cook Heat,” a “Petroleum Forge or Blow Pipe,” and even a Canadian patent for an unspecified “Musical Instrument.”12 How these first two relate to his life is unknown to me. Saroni died in Marietta on 29 Aug. 1901, and was buried in that city’s Oak Example 2 Grove Cemetery.13 His wife survived him continued from page 9 Mab on high C over a German augmented- by only two months. There is a fascinating of genre songs: several Gipsey choruses sixth chord (Ex. 2). The operetta ends with life story to be further uncovered here. (syncopated, with one assigning parts for Mab and Florence crowned as twin May castanets, triangle, and tambourine; see Ex. Queens. Notes 1), a Romanza (Tempo di Polacca) for the While the choral parts are modest in 1 In the 1860 U.S. census, Saroni’s age is given Gipsey girl Preciosa, and another romanza range and technical difficulty, the solo as 36, and his occupation as “Professor of for Florence/Esmeralda (“with Mandoline music is more sophisticated than one would Music.” See Year: 1860/ State: Alabama/ in hand”), a Chorus à la Polka, and a waltz, expect, as is the music quality generally. County: Madison/Post Office: Huntsville/ Sheet No: 183 Reel No: M653-15/ all of which leads up to Florence melodra- There are several cadenzas for Mab and Division: the city of Huntsville/Page No: 1. matically revealing herself to Queen Mab Florence of the type; Saroni was Available online at http://www.rootsweb. (surely an inside joke) and her friends, with a competent and respectably trained com- continued on page 11

10 The Bulletin of the Society for American Music • Vol. XXXIV, No. 1 continued from page 10 7 Musical Vade Mecum: A Manual of the 11 V. B. Lawrence tartly observed that Science of Music, Adapted to the Wants of “Saroni…thrived on controversy – especially com/~cenfiles/al/madison/1860/pg183. Teachers and Scholars. With an Alphabetical multiple controversy”; Strong on Music, txt. Index. By Herrman S. Saroni, Editor of vol. 2, Reverberations 1850–56 (Univ. of 2 See: http://www.co.madison.al.us/mcrc/ Marx’s Musical Composition, etc. (New Chicago Press, 1995), 190–91, and also natural.html. I have obtained copies of York: Mason & Law, 1852). 144–45 for Saroni’s last days with the two of Saroni’s naturalization documents 8 A. B. Marx, Theory and Practice of Musical Musical Times. (Marine Court of the City of New York, Composition, trans. H. S. Saroni from 12 US Patent 100,807, March 15, 1870; US 1844; and Circuit Court of Madison the 3rd German ed. (New York: P. J. Patent 126,158, April 30, 1872; Canadian County, Alabama, 1859). Huntington and Mason & Law, 1852). Patent 38772, April 21, 1892. 3 “Pleasant Recollections” in Saroni’s Musical 9 See Mrs. Emeline S. Smith (ed.), The 13 The Record of Deaths in the Washington Times 2/6 (1850). Despite its brief run, the Forget-Me-Not for 1850 (New York: Nafis & County Court of Common Pleas, Probate- Musical Times is an important resource that Cornish, ca. 1849), which contains Saroni’s Juvenile Division, Marietta, OH, gives the has never been fully studied. short story “Ammersburg Castle” (25–28); year of his death as 1900. The records of 4 See Columbus Symphony Orchestra, and Mary E. Hewitt (ed.), The Gem of St. Luke’s Episcopal Church, Marietta, of http://www.csoga.org/cso_aboutus.html. the Western World for 1851 (New York: which he was a member, give 1901, and I 5 In the 1850s, New York was the third larg- Cornish, Lamport & Co., 1851), which am inclined to trust this date. est German city in the world, after Berlin contains his short story “Petrus the Painter.” and . See B. Levine, The Spirit of 10 The term German-American began to 1848: German Immigrants, Labor Conflict, be used in the German-language press in and the Coming of the Civil War (Univ. of America in the early 1850s, and “a new eth- Illinois Press, 1992), 63. nic identity thus appears to have come into 6 V. B. Lawrence, Strong on Music, vol. 1, being” (S. Nadel, Little Germany: Ethnicity, Resonances 1836–50 (Oxford Univ. Press, Religion, and Class in 1988), 609. 1845–80 (Univ. of Illinois Press, 1990), 4.

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The Bulletin of the Society for American Music • Vol. XXXIV, No. 1 11 BC_AD 7.5_x_3.5 .indd 1 11/20/2007 10:41:20 PM Documenting “A Long Musical Experience” Behind the Brubeck Oral History Project history and American history worldwide. world tour for the U.S. State Department. As part of its contribution to the living In particular, his research focused on the archive concept, the library has pursued Brubeck Quartet’s 12-concert tour of the idea of traveling exhibits that move Poland and the impact it had on the his- materials beyond the somewhat limited tory of jazz there during the Cold War. physical confines of the special collections In short order, the production com- department. In 2005 Shan Sutton, head of pany had made DVDs available to the special collections, was awarded an NEH library and to EMP, and the interviews grant to hire consultants to help design were transcribed as part of EMP’s oral his- a large traveling exhibit of Brubeckiana. tory holdings. This made the recordings In addition to working with music and even more useful, because their content American history scholars, including John could now be made searchable. With this Salmon and Steven Crist, Professor Sutton development (and the fact that plans for contacted the staff at the Experience Music the original traveling exhibit idea were Project (EMP) in Seattle for their advice more long-term) came the second bit of and expertise in the design and logistics of serendipity: online delivery. this kind of exhibit – and it was there that In early 2007 the library purchased a – Glenn Pillsbury the first bit of serendipity occurred. license for CONTENTdm, a web-based Library Media Specialist For a number of years, EMP had been collection management and delivery prod- University of the Pacific Library involved in an oral history project, and uct initially developed by the University of in the fall of 2006 EMP was awarded a Washington and now owned by OCLC. The Brubeck Oral History Project, an grant from the U.S. government’s Institute CONTENTdm’s flexible architecture online video collection recently launched of Museum and Library Services agency allows it to organize and display items of by the library at the University of the to continue that work. Having already many types, and it offered a scalable solu- Pacific, is the result of a sequence of seren- met with Professor Sutton to discuss the tion to the idea of making more special col- dipitous events. It began with an idea for traveling exhibit, EMP floated the idea lections materials available to more people. a sprawling traveling exhibit that would of recording Dave and Iola Brubeck. In At this point Glenn Pillsbury, the library’s move through physical space. It ended short, EMP offered to provide a profes- multimedia specialist and web designer, with a compact and focused series of clips sional crew to film a series of interviews was brought into the picture to create starring an important figure in American with the Brubecks if the library could customized graphics and web program- musical history – all of which is easily make the arrangements to have Dave and ming for the collections that would use accessible to scholars and students through Iola available. Both EMP and the Brubeck CONTENTdm. In late spring 2007, the virtual space. Collection would get a copy of the footage first collections to go live at Pacific were In 1999, Dave (b. 1920) and Iola (b. to use for their own projects, such as the the photo archive of naturalist John Muir 1923) Brubeck donated much of their col- traveling exhibit then being planned. and a collection of stereographs made by lection of scores, audio and video record- Here was a fabulous opportunity to John Pitcher Spooner, a San Joaquin Valley ings, photographs, business contracts, fan accomplish two things: augment the hold- photographer active in the late-nineteenth mail, and other memorabilia related to ings of the Collection in general with century. The positive response to those their musical lives to the University of unique content, and get footage of the projects only spurred the interest to make the Pacific in Stockton, CA. According Brubecks that would be owned outright the Brubeck interviews available in the to Dave, a 1942 alumnus of the university, by the library and thus could be used same way. the decision was made easier by the uni- freely in any number of projects. The However, before that could be done versity’s commitment to treating the mate- Brubecks responded positively to the idea two issues had to be addressed: 1) which rial as a “living” archive. The subsequent and in January 2007 two days of inter- segments would be presented, since web formation of the Brubeck Institute cre- views took place at Ellington’s Jazz Bar and delivery of the complete five hours would ated an umbrella organization for activities Restaurant on Sanibel Island, Florida, near only result in diminishing returns and; 2) ranging from the annual Brubeck Festival the Brubecks’ winter residence. the technical issues of content creation and to outreach and educational opportuni- Professor Sutton conducted most of user access. ties via the Brubeck Fellowship Program the nearly five hours of interviews that The decision was made to break up the and the Brubeck Institute Jazz Quintet. were filmed, but he was joined in spots interviews into small chunks of discrete Grounding all of these has been the by Keith Hatschek, Director of the questions and topics. Though there was Brubeck Collection, run by the university Music Management program at Pacific’s some consultation with the Brubecks’ long- library’s Holt-Atherton Special Collections Conservatory of Music. Professor Hatschek time manager Russell Gloyd, Professor department, which manages the collection also had a compelling interest in speaking Sutton admits he made a largely subjec- and makes it available to scholars in jazz with the Brubecks, as he had just begun tive set of decisions as to which excerpts researching the complexities of their 1958 continued on page 13

12 The Bulletin of the Society for American Music • Vol. XXXIV, No. 1 Left: The Quartet at a post- concert jam session in Kraków, Poland, at the Rotondo Jazz Cellar, March 1958. L to r: Dave Brubeck, Paul Desmond, Eugene Wright, Joe Morello. (Photo #DBP 58-43, Brubeck Collection, Holt-Atherton Special Collections, University of the Pacific Library. © Dave Brubeck.)

Top: Dave Brubeck being wired for sound. Sanibel Island, Florida, January 2007 continued from page 12 saving of the video file from within the tion between music and issues of social went online. Thirty-five clips, representing online player for users who have the “Pro” justice, to thoughts on individual pieces of about three hours of material, emerged version of QuickTime. This measure won’t their music. Many familiar topics from the as a representative and engaging intro- stop a determined user from saving the clip Brubecks’ career are also discussed, such duction to Brubeck’s life and music, and though, and everyone involved anticipated as the significance of the Time Out album served to publicize the rest of the Brubeck all the clips in the collection would even- and Dave’s musical interest in J. S. Bach. Collection. Indeed, the entire interview tually appear on YouTube or other video As it happened, the interviews broached DVD is available to scholars visiting the sites. It was therefore decided to stamp the some subjects that haven’t appeared any- library. The complete transcript is also clips with an identifying title sequence so where to this extent, such as the threats available, and the transcripts for the online that future YouTube viewers would at least of violence against the Brubeck family clips can be searched from the project’s have some of the original context. To that during the 1976 tour of South Africa with search page using CONTENTdm’s search end, a 10-second “title” clip was created sons Darius and Chris, as well as Dave’s abilities. in iMovie and pasted to the beginning of memories and impressions of other jazz Working from the DVDs, the appropri- each clip. luminaries. Professor Sutton remarked that ate segments were ripped using MPEG Following the design of a visual look for his only significant disappointment in the Streamclip, a basic (and free) video-editing the web pages and some reprogramming coverage was the lack of discussion of the tool that converts a DVD’s troublesome of the code of the CONTENTdm player Brubecks’ participation in the Reagan- .vob file format into something that can in order to display the clips better, the Gorbachev summit in 1988 – resulting be imported into a more genuine video entire project went live on 12 Oct. 2007 on from a lack of time, not interest. editor, such as iMovie or Final Cut Pro. the library’s Digital Collections web site Finally, Dave’s willingness to sit at the iMovie was used for further editing of the at http://digitalcollections.pacific.edu/ piano and demonstrate musical concepts clips, and from there the clips were export- brubeckoralhistory. and ideas from his music brought a unique ed as QuickTime files using H.264/AAC As for the content itself, the interviews element to the second day of interviews. compression and the standard 320x240 show Dave and Iola fully engaged in the Four of the 35 have Dave playing little dimensions. QuickTime’s more open and telling of their musical histories. Well into snippets to illustrate an idea or a story, Web-ready format, and its cross-platform their 80s, both are quick to laugh and they or in the case of “(Thank You) Dziekuje” friendliness (if you have iTunes, you have share the impressively resilient bond that more than a little bit. QuickTime), were important factors in 60+ years of marriage can produce. From The “Brubeck Oral History Project” the decision to use it instead of Windows decades of managing Dave’s career, Iola’s only scratches the surface of the creative Media or Real. memory and attention to detail remain career of Dave Brubeck and the wealth of There was a brief discussion with the razor sharp. Questions and stories ranged materials housed by Brubeck Collection. Brubecks’ representatives about piracy, and widely across their lives, from Dave’s musi- All involved with the project have the the project addressed those concerns in cal beginnings on the family ranch in Ione, sincerest hope that the American music two ways. The first was to display the video CA, to the challenges both faced of rais- community will find that it makes a valu- files in CONTENTdm using QuickTime’s ing a family on the modest wages earned able contribution in their research and “kiosk” mode, one that disables simple from small performances, to the connec- teaching.

The Bulletin of the Society for American Music • Vol. XXXIV, No. 1 13 b o o k r e v i e w s Musical Theater

The Musical as Drama: A Study of the Principles and Conventions Behind Musical Shows From Kern to Sondheim. By Scott McMillin. Princeton and Oxford: Princeton University Press, 2006. 248 pp. ISBN-13: 978-0-691-12730-9 (hc).

the musical numbers (repetitive time). Far musicals. He tries to side-step this prob- – Jim Lovensheimer from being integrated, these two orders of lem by making the broad, and incorrect, Vanderbilt University time demonstrate distinct differences that assumption that all sung-through musicals recall and reflect each other, but which are megamusicals of the Cats and Miss Early in his Preface to this important study, operate in different spheres. Early on, the Saigon variety, overlooking other, smaller Scott McMillin makes quite clear a point author analyzes a classic “integrated” scene sung-through works like William Finn’s that has yet to register with many scholars – the “The Surrey with the Fringe on Top” “Marvin” musicals. McMillan further sug- of the theater and of music: “The musi- number from Oklahoma! – and convinc- gests a similarity between the megamusical cal is a dramatic genre of its own” (x). ingly demonstrates why it is actually a well- and the film musical: In both, he suggests McMillin goes on to note that many schol- crafted combination of disparate elements that a technological element other than ars, when they have addressed the musical that move Curly back and forth between live performance – the set or the camera at all, have tried to evaluate the genre with book time and lyric time. McMillin’s word – “bring all other elements of the perfor- the critical vocabulary generally used to of choice for this practice is “coherence,” mance under its control” (178). This is an discuss opera or “legitimate” (that is, non- which, he suggests, means “things stick interesting but not completely convinc- musical) theater, an approach that almost together, different things [such as dialogue ing argument. On the other hand, his always demeans the musical and/or finds and sung lyrics], without losing their dif- discussion of the orchestra’s omniscience it coming up short when compared to the ference” (209). This approach also contra- (which might also be said to be the score’s more “elevated” genres of theater. Indeed, dicts the commonly held idea that songs, in omniscience) is fresh and stimulating. Not at a recent multidisciplinary conference so-called integrated musicals, “forward the all will agree with his conclusions in this on the musical held at UCLA, the final action”; instead, McMillin argues, numbers chapter, but his points demand consider- session became a forum on the dismissive actually suspend action and comment on, ation. attitude toward the musical and the schol- or mirror, it while revealing new aspects Because it confronts and challenges ars who study it exhibited by colleagues, of characters not discernible in book time. much conventional and accepted discourse departments, and even entire institutions (Mirror images figure prominently in this on the musical, particularly that extolling with which many of the attendees work. work.) the concept of the integrated musical, this McMillin, by taking the musical on its This approach recalls Bertolt Brecht, is an important study. McMillin has made own terms and in turn creating a fresh, and who exploited the interruptive nature of a succinct but strong case for reconsidering no doubt controversial, critical approach musical numbers in his plays to heighten much of what has thus far been taken for to the genre, adds to the growing body of the nonrealistic theatricality of his alien- granted about the genre. His points are literature that suggests the American musi- ation technique. Musicals, McMillin posits, clear and, for the most part, soundly sup- cal is finally getting the serious attention often borrow Brecht’s technique without ported. The writing is lean, the footnotes it is due. Brecht’s politics, noting that “the aesthetic are ample but unobtrusive, and the bibli- McMillin has not written a history of the basis of the musical is energized by the ography is thorough if not comprehensive. musical, and he does little historical con- spirit of disunification that Brecht called I am convinced enough of its contribution textualization along the lines of Raymond for” (28). Once he establishes this aes- to the literature to include it in my upcom- Knapp or Bruce Kirle, both of whom have thetic, McMillin demonstrates it in select ing course on the history of the American written equally important considerations shows, considering the various aspects of musical, in conjunction with several other of the genre. Instead, he challenges the the musical – the book, the songs, the studies with different perspectives. In standard consideration of the musical as an structure of ensemble numbers, the cho- short, The Musical as Drama is essential integrated art form that grew out of hum- reography, the orchestra – and how they reading for all seriously interested in the ble (read: popular) origins such as vaude- create what he calls “a drama of difference, genre. ville, minstrelsy, and operetta into musical a drama of the multitude” (210). plays aspiring to the Wagnerian model of McMillin’s arguments are strong and total integration. Far from being integrat- mostly convincing, although he runs into ed, McMillin argues, musicals thrive on trouble when discussing sung-through the difference of their various components. musicals. These works remain in one order The most important of these differences, of time (lyric, or repetitive) and avoid pro- at least to his argument, is what McMillin gressive time due to their having no spoken calls the “two orders of time”: one for dialogue; therefore they lack the disuni- the book (progressive time), and one for fication that McMillin finds essential to

14 The Bulletin of the Society for American Music • Vol. XXXIV, No. 1 The Routledge Guide to Broadway. By Ken Bloom. New York: Routledge, 2006. 304 pp. ISBN 978-0-415-97380-9 (pb); ISBN 978-0-415-97379-3 (hc.)

reference series, although its audience goes would not necessarily be a problem if the – William A. Everett far beyond a student population. Anyone book contained an index, but it does not. University of Missouri-Kansas City interested in Broadway, past and present, Hence it is not possible to find informa- Ken Bloom, one of the great bibliographers will find this book useful. The paperback tion on a specific show unless one knows of American theater (including musical edition lists for $19.95, which makes The either the name of its principal creators or theater), has produced yet another valuable Routledge Guide to Broadway an extremely the theater in which it played. reference tool with The Routledge Guide to good value for the money. Yet the lack of entries on specific shows Broadway. The Guide is an abridged ver- Bloom, in his overall approach, focuses is also an advantage of the book, for it sion of the second edition of his magisteri- on the art of performance rather than on intentionally avoids the establishment of al Broadway: An Encyclopedia (New York: repertory. The most substantive entries are a Broadway canon. Bloom offers his read- Routledge, 2003). It contains encyclope- those for individual theaters. The author ers a valuable approach to the history dia-style entries on theaters, creative per- not only provides fascinating histories of of Broadway by emphasizing performance sonalities, awards, and other topics related the buildings themselves and their man- (venues and people) rather than a core to the world of the professional stage. The agers but also details the most important selection of notable works. Many reference book’s introduction provides an informa- productions that took place within their books on the Broadway musical privilege tive history of the Times Square area and walls. His secondary focus is on the peo- landmark shows, and it is refreshing to see its development as a theatrical center. The ple involved with Broadway – perform- a different focus. essays themselves provide a great deal of ers, playwrights, composers, librettists, and Although the book contains some fac- background on the history and significance producers. Here, too, he offers valuable tual errors (for example, If I Were King of their subjects. Bloom surveys Broadway insight as to what made each person sig- was the inspiration for Rudolf Friml’s The theater as a whole, and includes informa- nificant and includes descriptions of their Vagabond King and not for The Three tion related to both plays and musicals. most important work. Musketeers), it is a valuable addition to This is one of the many important aspects This leads to what may be perceived as the scholarship on musical theater because of this book: The Broadway musical is not the Guide’s weakness: the lack of entries of its coverage, approach, and cost. The separated from its theatrical siblings but on individual shows. Musicals (and plays) Routledge Guide to Broadway is an acces- rather is discussed and covered within the are covered in the entries for the theaters sible, well-written reference tool that will broader context of American theater. in which they appeared as well as in those appeal to students and others interested in The book is part of Routledge’s student for their creators. The lack of show entries the world of Broadway.

The Megamusical. By Jessica Sternfeld. Bloomington and Indianapolis: University Press, 2006. 441 pp. ISBN 978-0-253-34793-0 (hc)

of such works, but Sternfeld’s is the first appears in the book most prominently as – Paul R. Laird full-length history of the genre. Her book lyricist for Lloyd Webber’s early shows, but University of Kansas appears in the Profiles in Popular Music Sternfeld also provides a short biography series, edited by Glenn Gass and Jeffrey and examines his later important con- According to author Jessica Sternfeld, the Magee. Sternfeld has penned an informed tributions to the genre, including Chess, term megamusical first began to appear in and nuanced study with effective com- Beauty and the Beast, and Aida. Along in the 1980s. Critics mentary on the creation of major works, with these composers and lyricists, she quickly adopted it, although it acquired their use of drama and spectacle, marketing extensively covers the contributions of pejorative overtones. It is now the accepted techniques, critical reception, and detailed directors Trevor Nunn and , moniker for what Sternfeld describes as consideration of the music with numerous producer Cameron Mackintosh, select a piece of musical theater that is “sung- examples. Given the genre’s relatively brief designers such as John Napier and David through and features an epic, historically history – less than four decades – Sternfeld Hersey, and actors such as Elaine Paige, situated, but timeless plot staged on a has managed a fine sense of balance and Terrence Mann, and Colm Wilkinson. fancy set” (3). In addition, “the mega- produced a major contribution to histori- With this cast of characters, Sternfeld then musical is not just big inside the theater,” ography on recent musical theater. includes chapters organized by decade and for it is offered in conjunction with end- Sternfeld provides detailed consider- progresses more or less chronologically less commercial promotions and major ation of the lives and works of Andrew with short, pithy descriptions through advertising campaigns. This is admittedly Lloyd Webber, Claude-Michel Schönberg, Evita, Joseph and the Amazing Technicolor a loose definition, but megamusical has and Alain Boublil, devoting single chapters Dreamcoat, Chess, Starlight Express, Miss become part of the field’s accepted vocabu- to the work that established the genre, Jesus Saigon, Aspects of Love, Jekyll and Hyde, lary, appearing in many histories and other Christ Superstar, and the three most popu- The Scarlet Pimpernel, Titanic, Beauty and publications. Several authors have written lar megamusicals: Cats, Les Misérables, about various megamusicals and creators and The Phantom of the Opera. continued on page 16

The Bulletin of the Society for American Music • Vol. XXXIV, No. 1 15 continued from page 15 lar elements are in each show. Her exten- sive appendices include detailed plot sum- Bulletin of the the Beast, The Lion King, Rent, Ragtime, maries, lists of musical numbers, and tables Society for American Music Aida, The Producers, and Wicked (the lat- of recurring musical material for several of est musical considered in any detail, from the most important shows. 2003). Sternfeld realizes that not all of Publishers of musical theater books Specifications and Rates for these works fully represent each aspect often do not want musical examples Advertisements of what she defines as the megamusical – because they drive away potential custom- exceptions that she details. The Producers ers who cannot read music. Musicologists The Bulletin of the Society for American (2001) by , for example, carried yearn for more specific treatment of a Music is the regular conduit for keeping the hype of the typical megamusical, but show’s music, and Sternfeld provides many members updated on the state of the Sternfeld deems it a “mock megamusi- examples and writes convincingly about discipline. It contains short articles and cal” (339) that parodies major elements scores. She knows that many of her readers open discussions relating to American of such shows while also taking advantage are not musicians, however, and her analy- music, and occasional reviews of of them in its satirical look at Nazism sis is not deeply technical. Rather, she con- books, recordings, and web resources. and musical theater conventions. For each centrates on identifying recurring themes It also includes information regarding show, she covers both London West End and commenting on the nature of a melody conferences and performances, along and Broadway productions, although the (“lyrical” or “stepwise,” for example), or preponderance of material in the book is characterizing a rhythm according to its with news relating to member activities. American. While noting that a number meter or another quality (such as “funky”). It is sent to members three times per of these shows had extensive international She effectively explains why Lloyd Webber, year. Circulation: 1,000 copies. About appeal, she barely considers productions in Schönberg, and others are good composers 100 of these go to libraries. other countries or languages. for the theater, offers comments on their Her firsthand experience of these shows overall musical styles, and addresses the SUBMISSION DEADLINES: – she has seen many of them several times variety in their eclectic scores. 15 December, 15 April, and 15 August – enriches her descriptions, and allows In her discussion of Les Misérables, for her to engage with barbed commentary example, Sternfeld devotes separate seg- To reserve, call Mariana Whitmer at by critics with sympathy and authority. ments to the score’s overall structure with (412) 624-3031 or e-mail: SAM@ Sternfeld knows well the withering recep- lengthy sections of drama told entirely in american-music.org tion that some New York writers have music, the presence of recurring motifs accorded works by , and recitative passages, recurring melo- Tear sheets will be sent after publica- for example, and for major shows she sur- dies that offer dramatic commentary, and tion. veys a wide variety of reviews. She has the the unusual structure of the song “One benefit, however, of writing about Cats Day More,” which she considers the dra- SPECIFICATIONS AND PRICES knowing that it enjoyed an 18-year run, matic climax of the work. She bolsters her so she can critique the opening reviews, analysis with seven musical examples from Overall Page size: 11" x 8½" (page height and she achieves an admirable balance of Les Misérables. Sternfeld is not afraid to x width). PDF format appreciated; viewpoints in her assessment. Her own criticize a score or song when she finds images should be in black/white or views on Cats (and other shows) do shine it warranted; for example, she calls the grayscale. through, but those who read extensively score to Lloyd Webber’s Starlight Express on musical theater expect to see opinions, “short-breathed repetitive, four-square $ 125.00 Full page: 10" high x 7½" wide and Sternfeld is an informed commentator. songs orchestrated as teenage bubble gum $ 75.00 Half page: 5" x 3¾" One of her finest contributions is to make pop” (286), and finds the song “Bustopher $ 50.00 Third page: 3½" x 7½" the reader look at each show outside of the Jones” from Cats “repetitive and a bit plod- $ 40.00 Quarter page: 2½" x 2¼" mountain of polemical opinions that tend ding” (150). For the most part, however, to be offered about megamusicals. Many she lauds Lloyd Webber as a composer and All prices are per single issue. A 15% American writers on musical theater have shows how well trained and imaginative discount will apply for ads placed in not taken kindly to what they have seen as he is. She credits him with establishing the all three issues of a volume. a foreign invasion of Broadway by Andrew musical expectations for the megamusical, Lloyd Webber, Tim Rice, Claude-Michel which have been followed by Schönberg, Schönberg, and others. They have writ- , and other composers. ten scathingly about these shows, holding Many will enjoy this book. Musicol- ELECTRONIC FILES up as superior musicals by such writers ogists, theater historians, and students of ENCOURAGED as Stephen Sondheim, which they see as musical theater looking for information more sophisticated. Sternfeld points out and commentary on this genre and these Submit jpg, gif, or pdf files to: the disparity between these opinions and shows will find the study invaluable. Her [email protected] the enormous popularity of megamusicals, writing is lively and approachable, and she rightfully concluding that there must be has a rich sense of irony. It is a delightful something there that audiences like, and read and a winning contribution to this she effectively describes what those popu- area of musical theater scholarship.

16 The Bulletin of the Society for American Music • Vol. XXXIV, No. 1 The Bulletin of the Society for American Music • Vol. XXXIV, No. 1 17 Sounding Together While Sounding Apart (Part I of III)

Editor’s Note: Judith Tick wrote this essay on a commission from the Music Center to use in the program book for the Festival of Contemporary Music, 28 July–2 Aug. 2007, where she served as a scholar-in-residence. The festival was organized by John Harbison on the theme “The Generation of 1938,” with programs including music by William Bolcom, Alvin Curran, David Chaitkin, Paul Chihara, John Corigliano, David Del Tredici, Charles Fussell, , John Harbison, John Heiss, Julius Hemphill, William Thomas McKinley, Elsworth Milburn, Stanley Silverman, Harvey Sollberger, , Olly Wilson, , and Ellen Zwillich. Parts I and II appear in this issue; Part III will be printed in the Spring Bulletin.

the two crises of the mid-twentieth cen- lived in the United States, controversy tury – the Great Depression of the swirled around his suggested candidates and the oncoming Second World War of of African American and Native American the 1940s. Most of these composers were folk songs.) In May 1939, when the King – Judith Tick too young in the War years to remember and Queen of England paid a state visit to Matthews Distinguished much about this era. Still, the fact that Roosevelt’s White House, at the official University Professor of Music Paul Chihara learned popular music at the concert they heard the Coon Creek Girls Northeastern University, Boston Minidoka Relocation Center in south- and Alan Lomax along with the classical ern Idaho (a Japanese-American intern- singers and Lawrence ment camp), singing “” Tibbetts. Composer William Bolcom The following article has also appeared online at the Saturday Night Canteen when he remembers how “everybody used to sing in NewMusicBox, the web magazine from the was four years old, reminds us of Home [from] Norman Lloyd’s American Music Center (www.newmusicbox. The Fireside Book org). Front anxieties and fears. Music as part of of Folk Songs when they were kids. Similar “expressive culture” – a term that takes in fare in September 1939 was offered up to everything from classical concerts, pop, attendees of the first International Congress “Over the years I noticed 1938 as a curious phe- and swing, to movies, radio shows and of the American Musicological Society in nomenon.” dance competitions­­ – fended off fear with New York City, who heard Sacred Harp “Why this year, try 1610.” tradition and pizzazz, transmitting the hymns and watched the “Swing of Harlem” “We have been aware of this coincidence for the value of American optimism which Aaron team do the lindy. longest time.” Copland would later define as an essential The International Congress sym- “I know only some of these people on this list.” national characteristic. bolizes another aspect of the historical “I know most of the people on this list.” The belief in progress through science moment – an exodus that produced a “We are wildly different people.” and engineering also marked this moment. changing cultural demographic. Some of “People born at the same time have things that The 1939 World’s Fair, with its still vaguely the European attendees were stranded here they share, instilling across-the-board empathy.” familiar slogan “Building the World of because Hitler had invaded Poland just “We may share the same musical moment but Tomorrow,” promised revolutionary prog- one week before the Conference. Others the musical veins we have tapped are very diver- ress, which the future delivered for this already in exile or on their way by 1945 gent.” generation. Within ten years of the Fair, included Schoenberg, Bartók, Stravinsky, “The fact that so many important composers LPs and stereo had replaced 78s; television Hindemith, Krenek, Weill, Milhaud, came out of this generation is not an accident.” came along in another five. Recordings Eisler, Bukofzer, and Adorno. Rzewski democratized access – you didn’t have to says, “The United States was the center So here we have a group who does not live in a city to hear the Rite of Spring or of in the 1940s. It was full necessarily think of (or want to think Billy the Kid. Frederic Rzewski: of European musicians. It was full of these of ) itself as a group whose music is being musicians who toured all over the place all The LP’s had just come out. You could of the time.” programmed as if it were a group, which take a record into the little booth and perhaps it is: a set of American composers listen to it. I heard the Shostakovich In a way this was a “da capo” moment in born in 1938 (more or less). The com- Ninth Symphony right there in the store, American music history, because the influx ments above, which come from informal in Springfield, Massachusetts, in 1948. of European musicians in the 1940s and telephone interviews done in 2007, have “Do you have something by Schoenberg?” 50s parallels the earlier influx of European influenced the perspective of this overview. “Yes, this just came in.” It was A Survivor immigrants to the United States in the Taking its title from a phrase coined in from Warsaw. It knocked my socks off. 1850s and 60s. Back then German musi- It was the first thing I ever heard of 1930 by the musicologist Schoenberg’s. I was ten years old. cians came in such numbers that they jump- (Pete’s father, who used it in his theo- started American symphonic orchestras ries about modern music), this essay asks To be born in 1938 meant growing up and spread Romantic music into the hin- what it means to “share the same musical with stage two of Dvořák’s idea that folk terlands; in New York famous Italian opera moment.” Since it would take a book to music supplied the materials for a nation- coaches ran studios teaching American answer this question, we will focus on just a al style, or what ’s gen- girls how to sing Verdi. A hundred years few aspects of their shared experiences. eration called “an American vernacular.” later David Del Tredici credits his piano To be born in 1938 meant straddling (At stage one in the 1890s, when Dvořák teacher Bernhard Abramowitsch (another

18 The Bulletin of the Society for American Music • Vol. XXXIV, No. 1 German Jewish refugee) for teaching him pioneering historian of African American off the names of their idols from the 1940s composition through performance: “Large music, interviewed Wilson in 1974, she and ’50s, seamlessly moving from swing form is a felt, experiential thing, not an exclaimed “Sumner High! That school has into bop. intellectual thing... Abramowitsch taught produced a lot of musicians.”1 (Its alumni This is not to deny the different social me how to project the large tonal form include and opera singers contexts for racialized musical expression. in the big sprawling pieces which were Grace Bumbry and Robert McFerrin.) These were the years of battles over segre- the things I liked best, like the Schumann Ellen Taaffe Zwilich describes her particu- gated schools, and the Supreme Court deci- Fantasie or the Chopin Polonaise-Fantasie, larly rich environment in a white suburb sion desegregating them (Brown v. Board of or late Beethoven long slow movements.” of Miami: Education) happened in 1954 when this Ellen Zwilich (who met the Hungarian generation was in high school. Therefore, composer Ernst von Dohnányi at Florida Coral Gables High School had what jazz has different meanings for white and amounted to a conservatory in the high State University in Tallahassee) draws out school. It had a music building with two black musicians. For Olly Wilson, Duke the implications of such contact: wings, two choruses, two bands besides Ellington promised a better future: the marching band, an amphitheater for The fact that so many important concerts, and the symphonic band was Ellington was of course a consummate composers came out of this generation is practically a professional organization. We musician. He was also a cultural hero not an accident. It rests on a foundation played all the new stuff, Persichetti, Paul when I was growing up. His career in of education that no longer exists. It was Creston, lots of adaptations. The school the big band tradition clearly suggested a uniquely American education leavened owned instruments, the practice rooms that it could give musicians a career at a by European influence, not from afar, but had intercoms, there were two offices certain level of class...it represented people in the bloodstream. As it happens, our for instrumental teachers. [One of the of class. He embodied that more than generation had the best of both worlds. band directors] Paul Cremashi, would say anybody else, he did represent a cultural The cream of the crop moved to this “Taaffe, come conduct. Taaffe, go write icon. To me he gave me an understanding country. They were our teachers, or our an arrangement,” and the student with of a level of performance that was clearly teachers’ teachers. demerits had to copy out the parts. a high standard, and also his style and development clearly changed, there was a The teaching took place within the Coming of age in the 1940s and early quest for continual growth, a question for foundation of solid music education for ’50s meant that for some of these com- continual expansion. some of the Festival of Contemporary posers the notion of “separate spheres” in Music (FCM) composers. Many recall And for Julius Hemphill, jazz embodied music did not correspond to their musi- what the critic Albert Murray calls the their high school years filled with ample cal experiences. They walked the “mid- opportunities for active substantive American “vernacular imperative” – the dle of the road” – to borrow President need “to stylize the idiomatic particulars music-making. David Chaitkin said rue- Eisenhower’s Republican euphemism for fully, “The schools [then as opposed to of everyday life” into sophisticated endur- “liberal.” David Borden recalls, “As I was ing art. now] were in very good shape.” John Heiss growing up, both classical and popular recalled a production of in the music were enjoyed equally and I was I grew up in the “Hot End” of Fort Worth. tenth grade at his public high school in encouraged to learn both in my piano The Hot End is where people came for Bronxville, New York. Charles Fussell grew lessons.” Most learned the repertory now entertainment, such as it was, and to drink and carry on. It was musically rich. I could up as a Moravian-American, belonging to called the “Great American Song Book,” a a historically rich community of German- hear Hank Williams coming out of the mixture of Broadway and film songs as well jukebox at Bunker’s, the white bar. And speaking immigrants who came to the as commercial pop. They went with their Louis Jordan, Son House, and Earl Bostic Colonies in the late 18th century, settling parents or friends to see blockbuster movie from the box at Ethel’s, the black bar in Pennsylvania and North Carolina in par- musicals in Technicolor, sharing what John across the street. Texas gets hot, you know. ticular. Famous for their music, Moravian- Corigliano calls “a sense of beauty that was Winter is an afterthought. We had all the Americans built their social life around it, windows raised. So right across the street, popularly loved.” They were raised on the these two jukeboxes were blaring. I had a and Fussell recalls the high quality of his sophisticated chord progressions of pop education and the prestige his high school great childhood. I mean, I was right down standards. As Heiss remarks, “I still am try- there with the action. It helped formulate music teachers enjoyed in his town of ing to figure out [Jerome Kern’s] “All the some ideas, you know what I mean.2 Winston-Salem, North Carolina. Things You Are.” At Midwood High School in Brooklyn, The importance of jazz deserves some Alvin Curran’s comments from an inter- John Corigliano found Bella Tillis, who special comment. Many FCM compos- view in 2001 underscore the ambiguities of started SING!, a citywide competitive pro- ers (Harbison, Heiss, Curran, Milburn, experience as a white boy playing jazz. gram for that classic adolescent experience Zwilich, Wilson, Hemphill) were “jazzers.” – the high school musical. Julius Hemphill It was a racist world. I mean racist not At the professional Performing Arts High only in the color lines that existed then so (and his cousin Ornette Coleman) went School in New York, Stanley Silverman strongly, but also in the elitist traditions to a public high school in Forth Worth, played guitar (acoustic and electric) and which were carried on and maintained Texas, where the distinguished jazz clari- joined the high school jazz band. Few between the great European tradition netist John Carter taught music. Similarly, immersed themselves in the professional and then the dubious but nevertheless at the segregated Sumner High School unavoidably, recognizably great traditions world of jazz quite so early as William of , especially in in St. Louis – founded in 1877 as the McKinley, who gigged so much as a kid first African American high school west of its black origins. So these things were very that he joined the Musicians Union when clear to us as kids. We didn’t know what the Mississippi – Olly Wilson also fared he was twelve. Many FCM composers reel very well. When Eileen Southern, the continued on page 20

The Bulletin of the Society for American Music • Vol. XXXIV, No. 1 19 continued from page 19 selves out and readied themselves for col- Notes they meant, but, as I say, the experience lege, which they all attended, they carried Judith Tick’s book Music in the USA: A was one of “excitement, joy” – in whatever their musical upbringings with them in Documentary Companion, with Paul Beaudoin expression, whether I was playing in a local ways they could not understand at the as assistant editor, will be published by Oxford Dixieland band or a dance band that was time and would prove significant for them University Press in 2008. The author would run largely by a group of Italo-American especially like to thank Vivian Perlis and the staff kids in high school or I was playing in the at many stages of their creative develop- of Oral History American Music (OHAM), Yale high school band or the Brown band or ment. This moment is crucial. In 1984, University, with help in preparing this essay. 3 the local symphony orchestra or whatever. at a mid-career moment, giving talks to 1 Eileen Southern, “Conversation with Olly Tanglewood composers, John Harbison Wilson: The Education of a Composer,” Not all FCM composers profess much summed it up: The Black Perspective in Music 5/1 (1977): interest in pop music or jazz. It mattered 93. Here is how it went for me: in adolescence only somewhat to Bolcom, and very little 2 Marty Ehrlich (ed.), “Julius Hemphill (in Mozart string quintets and Bach Cantatas, to Del Tredici, Rzewski, Joan Tower, or his own words),” includes this quotation Stravinsky , Bartók Symphony of Psalms from the Smithsonian Institution Jazz Oral Charles Wuorinen. “I was a wild thing from Concerto for Orchestra. With jazz History Project; interview by Katea Stitt, South America,” Tower says, who landed at groups: Kern and Gershwin songs. Oscar 1994. a fancy prep school in Massachusetts when Peterson, later Horace Silver. And I freely she was a teenager and had no important admit the Four Freshmen, Nat King Cole. 3 Alvin Curran with Ingram Marshall, New musical awakenings, so to speak, through This is the most impressionable time. York, NY, 6 Oct. 2000; interview for OHAM. its curriculum. But overall, many of the Everything from these years is indelible. 4 John Harbison, “Six Tanglewood Talks FCM generation experienced popular If we really cared about teaching music we’d do it then, and before, and then leave (1, 2, 3),” Perspectives of New Music 23/2 music and classical music as different dia- people alone.4 (1985): 14. lects of the same tonal language. As the FCM generation sorted them- Music Is What Happens (Part II of III) The poet Seamus Heaney has written of Their professional training coincided army, Schuller through the orchestra, “that moment when the bird sings very with the moment when universities com- Boulez through the Conservatoire.... close / To the music of what happens.” In peted fully with conservatories. All of the It was a choice we made. We were the grandchildren of Gershwin and Porter, recalling the 1960s and ’70s, many FCM FCM composers went to college, and most and Gershwin was the son of immigrants. composers use the phrases “we were the went to graduate school at a transitional We had the respectability of the university. first generation to” or “the last generation stage in the training of American com- to....” These moments shape this brief over- posers. Until ca. 1960, many composers Most FCM composers have remained in view of their coming of age as artists. What entered the profession with a B.A. or its the university world as teachers, some with happens when so much happens? equivalent; some earned the “master’s,” full-time appointments and some not. At a formative time of their lives, the which served as the terminal degree. After “We were a generation of highly skilled FCM generation lived through an era of that point programs offering doctorates in performers,” says John Harbison. “Many profound challenges to the general belief. music (Ph.D’s and D.M.A.’s – Doctorate in the younger generation today are not.” As they approached their thirties, they – of Musical Art) became increasingly com- Given the difficulties of contemporary individually and in some cases collectively mon, symbolizing the growing power of composition, where scores of new music ­– contributed to the rise of serial and atonal academia and the long reach of its patron- often got lost in translation – Wuorinen music, contributed to the decline of serial age. “We were the last generation not in 2002 described the prevailing norm as and atonal music; worked in electronic to have to get doctorates,” David Borden “very slovenly and not particularly compre- music centers, wrote music in traditional notes. At a time when American universi- hending” – several FCM composers, often acoustic genres and practiced extended ties were growing by leaps and bounds, using universities as launching pads, orga- improvisation; switched on through the “People could just make a phone call and nized new ensembles. “To have composers’ Moog, switched off through trance music you’d have a job.” groups was a novelty at the time,” Harbison or ostinato music – as minimalism was Only a few of the FCM composers recalls. “There would be no performance then called; idealized participation, ideal- have this now-required credential. In the of their music unless they generated it. ized control; stayed afloat in the high tides mid-1970s Ellen Zwilich became the first Even when [the historian] Arthur Mendel of rock, lived uptown, lived downtown, woman to receive a D.M.A. from Juilliard; told John Heiss, “‘You’re at Princeton now. lived underground, lived bicoastally, lived Joan Tower, the second woman to receive Put your instruments in your case. You within cultural nationalism, lived counter- the same degree from Columbia. Bolcom have work to do,’” Heiss said, “the kids just culturally in California, lived multicultur- earned Stanford’s first D.M.A., Paul smiled and played anyway.” ally in Europe or through “non-Western” Chihara a Ph.D. from Cornell. Chihara In 1962 Charles Wuorinen, Harvey music. Composers that were reviled at understood how Sollberger, and the cellist Joel Krosnick the beginning of the ’60s by an older founded the trend-setting Group for generation – particularly – We were the first generation to be Contemporary Music at Columbia. “Of “canonized” through doctorates. We achieved public acclaim by the early 1970s. course we were young and knew every- Orthodoxies rose and fell. were very much aware we were a bit of an anomaly. Babbitt was trained in the continued on page 21

20 The Bulletin of the Society for American Music • Vol. XXXIV, No. 1 continued from page 20 war, from “almost still smoking, destroyed Furthermore, in the 1960s it became thing,” Wuorinen recalled in 2002, “so cities throughout Europe,” as Curran (in increasingly clear that the mainstream we decided that we would just reform the 2000) remembered his first visit to Europe music of “Americana had run its course,” universe.” One of their concerts fell on 22 in 1957; not all that much had changed in as David Del Tredici stated. Both Copland Oct. 1962, the evening when President 1965 in Berlin, when his mentor Elliott and Barber suffered public failures at the Kennedy informed the world of a “mis- Carter brought him over through a Ford premieres of works written to celebrate the sile crisis” in Cuba – the discovery of Foundation program.1 Charles Fussell opening of the orchestra and the opera at offensive missiles surreptitiously installed spoke of the anxiety of getting to East the newly constructed cultural complex, in Cuba by the Soviet Union, precipitat- Berlin by going through “Checkpoint Lincoln Center. A few years later, Copland ing one of the defining epochs of the Cold Charlie” – the security apparatus sur- told John Corigliano, “When I had a pre- War. Like many people living through this rounding the political zones of a then miere, all the younger composers came to historical confrontation and who there- politically divided city. Bolcom said, “The hear it. Now they don’t.” (“He said this fore remember “where they were when,” as trauma of the War [in Paris in the early matter-of-factly,” Del Tredici relates.) Del Kennedy delivered his speech on television ’60s] was still in evidence.” There as well Tredici, who spent a year at Princeton in and radio, Wuorinen was “in a taxi on my for one year, ca. 1962–63, David Chaitkin 1962, also recalled how “it was enormously way uptown to the Macmillan Theatre recalls the political climate in the waning exciting to abandon tonality. It was irresist- [at Columbia]. I thought, my God, we’re years of the French-Algerian War. Chaitkin ible. Schoenberg, Berg, Webern, I loved not going to live through another week heard Boulez mix music with politics in their music.” with this.” “While the world was ending,” his Domaine Musicale concerts at Place But “loving this music” was not enough. Harvey Sollberger said, “we were playing l’Odeon. “Every day Boulez would make a At the same time that the sonic ideals of our little hearts out.” statement damning the government policy atonal music – be it electronic or acoustic By the end of the 1960s the model on Algeria.” – permeated the American soundscape of the Group for Contemporary Music At home the atmosphere was heady of the avant-garde, the debate over the was replicated by other FCM composers. in different ways, perhaps because more relevance of science and theory raged as Joan Tower, an original member of the was at stake. The FCM composers were well at large in the culture as a whole. As GCM, was a founding member of the Da the first generation to learn – or at least American theorists like Milton Babbitt, Capo Players in New York. In Boston John have the option of learning – systematic Alan Forte, and accelerated Harbison helped transform Emmanuel 12-tone composition as it evolved within the production of discourse about music, Church into an innovative space for mak- second-wave American modernism, that they enacted this conflict as well in their ing music. In cities outside of New York, is to say, postwar American as own separate spheres of influence. In his including Chicago, , Boston, practiced by what has come to be known as now-classic metatheoretical articles about and San Francisco, the New York model the Princeton School led by compositional practice with 12 tones, was emulated, and even funded by private and Milton Babbitt. They belonged to the Babbitt shifted the intellectual paradigm foundations. first generation of American composers to for musical communication away from Many FCM composers sought out the be told, as Babbitt wrote, that a “founda- humanistic philosophy to science and ana- composer-leaders of the postwar European tional discourse [in theory] was a “precon- lytic positivism. He established a new lan- avant-garde. During the 1960s almost all dition of musical citizenship.”2 What kind guage and a rationale for the language at FCM composers made their way abroad on of musical polis required its composers to the same time, propelling “discourse about proliferating fellowships and grants from carry passports of musical theory? music” onto the center stage of American private foundations and the federal gov- Let us remind ourselves of the experi- compositional training. The expansion of ernment, as well as through Europe on $5 ences the FCM generation brought to Schoenberg’s legacy through the theoreti- a Day – a famous guidebook of the era. In this moment. They had grown up with cal virtuosity of Milton Babbitt charac- the postwar decades, Stockhausen, Boulez, Home Front “Americana,” as the music terizes postwar American serialism at the Nono, Dallapiccola, and Berio were rein- of Copland, Harris, and Thomson is fre- height of its influence in the early 1960s. venting Western European modernism quently labeled. They understood the ver- Several FCM composers studied at through their music and their aesthetic nacular imperatives of jazz. Moreover, the Princeton, Columbia, and Yale, where fiats, interrogating the reception of previ- debate between neoclassicism and twelve- they were exposed to an intellectual sobri- ous icons like Schoenberg and Stravinsky tone music (one of the historic debates of ety and a new theoretical vocabulary that in order to make room for their own 20th-century music) had also marked their has since become standard in the field emerging voices. Some FCM composers youth. As Heiss remarked, “We were born (e.g. “set,” “pitch class,” “combinatorial- attended the famous summer courses in into the Stravinsky vs. Schoenberg dilem- ity”). New journals such as Perspectives of contemporary music at Darmstadt, West ma as young people.” However, by the New Music published at Princeton and the Germany, among them Richard Teitelbaum time the FCM generation entered gradu- Journal of Music Theory published at Yale and Rzewski. At different points Charles ate school in the early 1960s, the dilemma set the tone for wider dissemination of Fussell, John Harbison, and David Borden had been “resolved” so to speak in favor of revisionist thought. studied with Boris Blacher in West Berlin. Schoenberg, or at least it had abated for What was it like to be there? The FCM In Paris Philip Glass studied with the leg- several reasons. composers display their differences from endary . Both Bolcom Already in the early 1950s both one another in considering this question. and Rzewski played in Boulez’s ensemble Stravinsky and Copland had broadened Alvin Curran said, “It all hit me with Domaine Musicale. their purviews, using 12-tone practice in the force of a tornado. I was suddenly New music was rising from the ashes of their compositions during that decade. continued on page 22

The Bulletin of the Society for American Music • Vol. XXXIV, No. 1 21 continued from page 21 away from the serial school. We felt it was a particular kind of “narrative truth,” their immersed in twelve-tone theory with Allen sort of imposed on us.” Del Tredici did experience of the past as remembered from Forte, and then from his own perspec- not “do because he was forced the perspective of its own future. “What tive, , his own creations.... to in any way. Atonality was exciting for happened” remains especially problematic Those who were informed so much so me.” Zwilich thinks that the evaluation of in that the music offering clues remains carried on mock battles. The Princeton- serialism should not be “so strict.... Don’t insufficiently assimilated through the expe- Columbia axis was no joke. You were in overdo the serial domination thing. After rience of a wider public. it or you were not. Now we can look all in the ’60s we had David Diamond, Still there is no doubt it could be tough. back lovingly, but not then.” Recalling Gian Carlo Menotti, Alan Hovhaness, and Heiss reported that an atonal composer his own “culture shock” when he moved Terry Riley.” said to him, “Atonal or tonal. Decide. from the University of Iowa to Columbia, Today this fascinating moment stands You’d better make the right choice. Your Sollberger recalled the struggle to establish between memory and history. It is already career will depend on this.” Did it? Perhaps serial music, so to speak, undertaken by filled with ideological tensions framed as the careers of FCM composers depended his mentors. He thinks that in that par- critical debates in language that recalls on exactly the reverse – not believing in ticular musical environment outside of aca- charges of “imperialism” in the 1960s or “the right choice.” Not deciding. demia, his teachers and friends Babbitt and even the Cold War. Did the rise of enter- Carter were underrated, indeed neglected. tainment and rock deafen ears to other Notes messages? In the absence of a substantive Charges of a “serial tyranny” seem like a 1 Alvin Curran, OHAM interview, 2000. scholarly literature offering fresh synthe- “Stalinist rewriting of history.” On record 2 Milton Babbitt, “The Structure and Function in many places, Wuorinen staunchly ses, we live with fragmented testimony of Music Theory,” as cited by Martin Brody, opposes notions of serial “power” as a bearing witness to the need for historical “ ‘Music for the Masses’: Milton Babbitt’s self-serving myth. Borden believes that interpretation. The few comments from Cold War Music Theory,” Musical Quarterly “our generation was the one who broke FCM composers presented here stand as 77/2 (1993): 166.

b u l l e t i n b o a r d

Members in the News in 2007 the Longfellow National Historic Hacker Prize from the Society for the site commissioned Bloom and his Olmsted History of Technology for his book Emily Abrams Ansari won the American Ensemble (flute, violin, viola, cello) to Capturing Sound: How Technology Has Musicological Society’s Paul A. Pisk Prize, give a bicentennial concert for the great Changed Music (University of California which recognizes the most outstanding American poet. Press). The Hacker Prize is awarded to paper read by a music graduate student at A 30-year veteran with the inter- recognize the best book in the history of the Society’s annual meeting. Her paper, nationally acclaimed Aardvark Jazz technology directed to a broad audience “Aaron Copland and Cultural Diplomacy: Orchestra, Bloom recorded improvised of readers. ‘Un-American’ Composer meets Cold War music for the award-winning DVD series Ambassador,” was the first on American Treasures from the American Film Archives, Wolfram Knauer, director of the music to win the prize. Ansari is a Ph.D. which The New York Times called “one Jazzinstitut Darmstadt in Germany, will Candidate at and of the best sets of the year.” Bloom and be the Louis Armstrong Professor of Jazz Lecturer in Music History at University of other band members appear on three Studies at the Center for Jazz Studies, Western Ontario, London, Ontario. installments; the latest (Oct. 2007) , for spring semester is Treasures III: Social Issues in American 2008. Knauer, who holds a Ph.D. in musi- Flutist Peter H. Bloom recently served as Film, 1900–1934. He can also be heard cology, has published more than 10 books musical director for an exhibition at The on Aardvark’s new CDs: No Walls/A on different jazz subjects in German; he New-York Historical Society, arranging Christmas Concert (Aardmuse, Dec. 2007) also serves on the editorial board for the and directing period-instrument record- and American Agonistes: Music in Time of University of Michigan Press’s jazz book ings of music from Lafayette’s 1824 tour War (Leo Records, Apr. 2008). Projects series and as the book review editor for of America (exhibition runs through 10 in winter/spring 2008 include concerts in the scholarly journal Jazz Perspectives Aug. 2008). For the American Museum in Louisiana, Maryland, Pennsylvania, New (Routledge). He is the first non-American Britain (Bath, U.K.), Bloom oversaw musi- York, Washington DC, and across New to become Louis Armstrong Professor of cal selections for a new audio/video span- England, with repertoire ranging from Jazz Studies. Knauer, who has directed the ning the Revolutionary War, American Shakespeare’s England (with Ensemble Jazzinstitut since its establishment in 1990, Civil War, and Civil Rights era. In the lat- Chaconne) to 21st-century America (with will teach a course on “Jazz in Europe – est of many projects for Boston’s Museum pianist Mary Jane Rupert). For more infor- European Jazz” and also organize a special of Fine Arts, Bloom recorded musical mation: [email protected] or www. presentation/event related to that subject. excerpts and voice-over commentary for americasmusicworks.com. He will be living in New York from January an audio tour of historical woodwinds, to May 2008. and gave a lecture-demo to inaugurate two Mark Katz, Assistant Professor of Music of the museum’s newly acquired flutes by at the University of North Carolina at American maker Alfred E. Badger. Also Chapel Hill, has been awarded the

22 The Bulletin of the Society for American Music • Vol. XXXIV, No. 1 i n d e x t o v o l u m e x x x i i i (2007)

Compiled by Laura Moore Pruett Grimshaw” (Crist, a), 2:31-32. Pisani, Michael, a. “Historiography Interest Howe, Sondra Wieland, a. “MENC Celebrates Group Report,” 2:33. Personal names are identified as author or com- Centennial in Keokuk, Iowa,” 3:52-53. “‘Please Step up to the Mic’ at the Pittsburgh poser (a), compiler (c), editor (e), performer (p), Images from the Conference, 2:28-29. Conference,” 1:2-3. reviewer (r), translator (t), or subject (s); recordings Index to Volume XXXII (2006) (Beal, c), “Report of the SAM Consortium of Centers for and videos are differentiated by the abbreviations 1:17-18. American Music,” 2:32-33. “rec” or “vid”; numbers refer to Issue Number: Ingraham, Mary I., a. “Musicology Meets “Report of the Silent Auction,” 2:34. Page(s). The editor welcomes suggestions for future Technology: Accessing Canadian Music “Report of the Website Committee” (Katz, a), indexes. Online,” 1:6, 10. 2:34. “In Memoriam: Howard S. Shanet (1918-2006),” “Resolutions on Music and Torture and “2007 SAM Honorary Member: Thomas 2:43. Suspension of Habeus Corpus,” 2:33-34. Hampson . . . And Other Conference “Introducing SAM’s Executive Director, Mariana “RIP: SRAR (1981-2006)” (Graham, a), 1:11. News,” 1:1-2. Whitmer,” 2:37. “SAM History Project Report” (Von Glahn, a), “2009 Conference Preview” (Worster, a), 2:41. “Journal of the Society for American Music Hits 2:32. Ansell, Jim, and Martine Walsh, a. “Journal of the the Right Notes in Pittsburgh” (Ansell and “Standpoint: Scaling the Walls” (Key, a), 3:45-48. Society for American Music Hits the Right Walsh, a), 2:21, 36. Student Forum, 1:12, 2:39, 3:51. Notes in Pittsburgh,” 2:21, 36. Journals: Call for Submissions, 3:63. “Summary of the Annual Business Meeting” Awards of the Society, 1:20, 2:44, 3:64. “JSAM Launches in February,” 1:1. (Magee, a), 2:25-27. Barg, Lisa, a. “Mark Tucker Award to Nathan Katz, Mark, a. “Report of the Website Treasurer’s Report: Calendar Year 2006 (Laird, Platte,” 2:32. Committee,” 2:34. a), 2:35. Beal, Amy, c. Index to Volume XXXII (2006), Kearns, Bill, a. “Gordon Meyers (1919-2006),” Von Glahn, Denise, a. “SAM History Project 1:17-18. 1:7. Report,” 2:32. Bowers, Jane M., a. “New Light on Jimmy Keller, Kate van Winkle, a. “Distinguished Whitmer, Mariana, a. “From the Executive Yancey’s Early Years,” 2:24. Service Award for Dianna Eiland,” 2:30. Director,” 1:10. Brackett, David, a. “Lowens Book Award to Key, Susan, a. “Standpoint: Scaling the Walls,” Worster, Larry, a. “2009 Conference Preview” Jeffrey Magee,” 2:30-31. 3:45-48. “Bravo for ‘Song of America’: Tour Took Library Laird, Paul R., a. “Treasurer’s Report: Calendar Across the Nation” (Lauridsen and Poxon, Year 2006,” 2:35. a), 1:4-5, 10. Lauridsen, Jan, and Stephanie Poxon, a. “Bravo Brody, Martin, a. “‘Free and for the Listening’: for ‘Song of America’: Tour Took Library Discovering American Music with ‘Art of Across the Nation,” 1:4-5, 10. the States,’” 3:48-50. Ledbetter, Steven, a. “Conference Report: Broyles, Michael, a. From the President, 1:3. Bernstein in Boston,” 1:8, 11. Bulletin Board, 1:13-14, 2:40, 43, 3:56. Lehrman, Leonard J., a. “Elie Siegmeister’s “Canadian Music Centre Launches Composer Pennsylvania Connections,” 2:22-23. Portraits: Influences of Many Musics,” 3:55. “Lifetime Achievement Award for Vivian Perlis” Conference and Concert Calendar, 2:42-43. (Oja and Tick, a), 2:27, 30. Conference Announcements, 1:15. “The Live Wire: Hearing Woody Guthrie Live,” Conference Calendar, 3:62-63. 3:54. “Conference Report: Bernstein in Boston” “Lowens Article Award to Beth Levy” (Miller, (Ledbetter, a), 1:8, 11. a), 2:31. Crist, Elizabeth, a. “Housewright Dissertation “Lowens Book Award to Jeffrey Magee” Award to Jeremy Grimshaw,” 2:31-32. (Brackett, a), 2:30-31. “Distinguished Service Award for Dianna Magee, Jeffrey, a. “Summary of the Annual Eiland” (Keller, a), 2:30. Business Meeting,” 2:25-27. “Elie Siegmeister’s Pennsylvania Connections” “Mark Tucker Award to Nathan Platte” (Barg, (Lehrman, a), 2:22-23. a), 2:32. “FAQs on Planned Giving” (McNamee, a), 1:9. “MENC Celebrates Centennial in Keokuk, “‘Free and for the Listening’: Discovering Iowa” (Howe, a), 3:52-53. American Music with ‘Art of the States’” McNamee, Elizabeth Yates, a. “FAQs on Planned (Brody, a), 3:48-50. Giving,” 1:9. From the Executive Director (Whitmer, a), 1:10. Miller, Leta, a. “Lowens Article Award to Beth From the President (Broyles, a), 1:3. Levy,” 2:31. From the President (Graziano, a), 2:24, 3:46. “Music Theatre Interest Group Report” (Gentry, Gentry, Anna Wheeler, a. “Music Theatre a), 2:33. Interest Group Report,” 2:33. “Musicology Meets Technology: Accessing “Gordon Meyers (1919-2006)” (Kearns, a), 1:7. Canadian Music Online” (Ingraham, a), Graham, Sandra, a. “RIP: SRAR (1981-2006),” 1:6, 10. 1:11. “New Light on Jimmy Yancey’s Early Years” Grant Announcements, 3:59. (Bowers, a), 2:24. Graziano, John, a. From the President, 2:24, Oja, Carol J., and Judith Tick, a. “Lifetime 3:46. Achievement Award for Vivian Perlis,” 2:27, “Historiography Interest Group Report” (Pisani, 30. a), 2:33. Performance Calendar: “The Doctor of Alcantara “Housewright Dissertation Award to Jeremy in Bethesda, MD (Feb. 2008),” 3:60.

The Bulletin of the Society for American Music • Vol. XXXIV, No. 1 23 a w a r d s o f t h e s o c i e t y

Further information is available at the Irving Lowens Memorial Awards Student Travel Grants website (www.american-music.org) or by The Irving Lowens Award is offered by the Grants are available for student members contacting the SAM office. Society for American Music each year for a who wish to attend the annual conference book and article that, in the judgment of the of the Society for American Music. These H. Earle Johnson Bequest for Book awards committee, makes an outstanding funds are intended to help with the cost Publication Subvention contribution to the study of American music of travel. Students receiving funds must be or music in America. Self-nominations are members of the Society and enrolled at a This fund is administered by the Book accepted. Application deadline is February college or university (with the exception of Publications Committee and provides 15th. doctoral students, who need not be formally two subventions up to $2,500 annually. enrolled). Application deadline is January 1. Application deadline is November 15th. Wiley Housewright Dissertation Mark Tucker Award Sight and Sound Subvention Award The Mark Tucker Award is presented This fund is administered by the Sight This award consists of a plaque and cash award given annually for a dissertation at the Business Meeting of the annual and Sound Committee and provides annual SAM conference to a student presenter subventions of approximately $700-$900. that makes an outstanding contribution to American music studies. The Society who has written an outstanding paper for for American Music announces its annual delivery at that conference. In addition to competition for a dissertation on any topic the recognition the student receives before relating to American music, written in the Society, there is also a plaque and a cash English. Application deadline is February award. 15th, for dissertations completed between 1 January and 31 December of previous year.

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24 The Bulletin of the Society for American Music • Vol. XXXIV, No. 1