The Bulletin O F T H E S O C I E T Y F O R a M E R I C a N M U S I C F O U N D E D I N H O N O R O F O S C a R G

The Bulletin o f t h e S o c i e t y f o r A m e r i c a n M u s i c f o u n d e d i n h o n o r o f O s c a r G . T. S o n n e c k

Vol. XXXVI, No. 1 Winter 2010 A Songbook and a Sea Voyage: The Legacy of Louisa Wells Aikman By Bonny H. Miller

“This Collection was made in Charleston—South Carolina—between the years 1770 and 74 by Louisa Susannah Wells (Containing one hun- dred and Thirteen Pages.)” Looking back in 1812, Louisa Wells Aikman (1755, Charleston SC—1831, West Cowes, Isle of Wight, UK) inscribed these words into the bound volume of British song sheets that she carried to England when she was forced to flee Charleston as a Loyalist during the American Revolution. Now held at the Library of Congress, Aikman’s songbook is a unique document of music making in Charleston in the 1760s and 70s. Louisa’s father, Robert Wells (1728— 1794), came from Scotland to Charleston as a bookseller in 1753, and his business (Artaxerxes, Love in a Village, and Thomas tions with the Society as a printer and grew into the largest book inventory in and Sally), as well as popular pastiches music vendor (Butler, 205)—even print- the Carolinas. His successful business such as The Summers Tale, Daphne and ing the Society rules in 1773 (Butler, enterprises required the assistance of Amintor, and the ever-popular Beggar’s 265—67)—and was likely a member as apprenticed young workers in addition Opera (Butler, 231). Louisa’s bound col- continued on page 02 to slaves. At his book and stationery lection reflects the popularity of these shop, Wells also sold music from many theater works, especially the perennial British publishers, as well as publishing favorite, Love in a Village. The final six- a newspaper, the South Carolina and teen songs in her collection were taken in this issue: American General Gazette, and fulfilling from this pastiche. other printing and bookbinding jobs. The three Wells daughters—Griselda, A Songbook and a Sea Wells claimed to carry hundreds of 01 Louisa, and Helena—no doubt used his Voyage: The Legacy of the latest song sheets and collections of stock of imported music to their advan- popular tunes of the era from the theaters tage, as most girls from prosperous com- Louisa Wells Aikman and pleasure gardens of London, Dublin, mercial families learned to sing and play and Edinburgh. His stock of instrumen- the keyboard, harp, or guittar. The Wells The Holy Librarians 03 tal music would have included keyboard women also had to their advantage their Reach Out on the Radio works (overtures, sonatas, exercises, song father’s relationship with the St. Cecilia medleys, dances) and repertoire for flute, Society in Charleston. In addition to Ottawa Updates 06 violin, guittar (a cittern, or modest fret- serving as a major supplier of books and ted instrument like a mandolin), fife, music to the Southern colonies, Wells Index to the Bulletin, or other popular melodic instruments. was involved with the St. Cecilia club of 15 Wells advertised in 1766 and 1767 that music lovers in Charleston from its early 2008-2009 he had music from theater works by Arne days. He conducted business transac- continued from page 01 Just as Louisa Wells Aikman’s Journey the Library of Congress online catalog at of a Voyage earned recognition as an www.loc.gov with a basic keyword search well (Butler, 273—78). exceptional nonfiction work by an eigh- using Wells Louisa Songs, or by browsing On a par with any commercial center teenth-century North American woman call number M1.A633, and proceed- in England, Charleston enjoyed a fash- writer and a remarkable primary source ing from Alcock’s “Come Haste to the ionable life of concerts, assemblies, liter- for American history, her personal song Wedding.” ary societies, theater, and balls, but the collection holds similar value for the evi- Some of the song sheets in Louisa’s St. Cecilia Society provided the focus of dence it provides about domestic musical collection are not found in RISM, in the musical life. The Society concerts began culture in the colonial South. Because British Union-Catalogue of Early Music, in 1766 as a subscription concert series the works in Louisa’s songbook often or in the holdings of the British Library. and a glee club for both dilettantes and include the name of the publisher, loca- However, eight of these eleven unre- music professionals, like the Anacreontic tion, and date of printing, they constitute corded works are included as entries in or Catch Clubs of London. Women were a rich source documenting the music the EASMES database (Early American not allowed as club members, but were she played and cherished as a young Secular Music and Its European Sources, welcomed as members of the audience woman. The London publishing firm 1589-1839: An Index), available as an at concerts. Although few St. Cecilia most often represented in the songbook online resource at the www.colonialmu- Society programs or handbills still exist, is Longman & Lukey, and composers sic.org website. Out of 109 songs, 39 contemporary newspaper advertisements represented in the songbook include Arne are listed in my own indexing project of suggest that their concerts featured the (Thomas and Michael), Baildon, Bates, music sheets included in popular British same musical fare of overtures, sympho- Battishill, Boyce, Carey, Davis, Galuppi, magazines (e.g., Gentleman’s Magazine, nies, chamber works, and fashionable Giardini, Gilding, Green [sic], Handel, London Magazine, Lady’s Magazine, etc.). song repertoire that audiences enjoyed in Howard, Jackson, Lampe, Purcel [sic], I first encountered Louisa’s songbook Great Britain at theater, pleasure garden, Selby, Smith, Taylor, Tenducci, Valentine, while searching for magazine music and concert venues (Butler, 203—36). Weldon, Worgan, and Yates. Additional sheets bound into personal volumes of With the start of the Revolutionary songs can be attributed with certainty to sheet music. Three song sheets fail to War in 1775, Robert Wells, a British Akeroyde, Bach (J. C.), Collett, Dibdin, appear in any of these sources: “The Loyalist, fled Charleston for England. Hook, and Wise. With the exception of New Bath Minuet As Perform’d at the Louisa and her brother initially remained a keyboard rondo based on a song from Rooms at Bath, Bristol & the Wells” in the city to carry on the family business, the pantomime The Elopement, Louisa’s (anonymous); “The Snow Ball,” by F. but she was banished as a Loyalist three music consists of texted songs with a fig- B.; and “Poets Corner, or Rural Felicity,” years later. Taking her songbook with her, ured bass or keyboard accompaniment. by Bartholomew Davis. The presence of Louisa recorded her perilous departure In many cases the tune is repeated unac- previously undocumented British song from the American colonies and travel companied, transposed into keys more sheets demonstrates the value and signifi- to England in The Journey of a Voyage appropriate for melodic instruments like cance of Louisa’s sheet music collection. from Charleston, S. C., to London under- the German flute or guittar. Louisa prob- Her songbook exemplifies the need for taken during the American Revolution by a ably chose the selections for her songbook continuing efforts to catalog the 18th- and Daughter of an eminent American Loyalist from those she liked to sing or play from 19th-century sheet music from personal [Louisa Susannah Wells] in the Year 1778 her father’s large inventory. The six-page music volumes held in many American and written from memory only in 1779. rondo for harpsichord by John Alcock libraries. Louisa’s account reflects a harrowing may have been her favorite keyboard Louisa’s treasured volume of song sheets experience for any person—especially for showpiece for the drawing room. A book- must have brought back many pleasant a vulnerable young woman— including binder, Wells probably bound Louisa’s memories of her young years spent amid episodes of dangerous weather, leaking volume of song sheets himself, and while the cultural milieu of Charleston and the ships, capture, imprisonment, and depri- the majority of the pages survive, five privileged planters’ life in the Carolina vation lasting six months. Surviving all pages numbered by Aikman are now low country. As she was completing her adversities, she quipped that she was “…a missing. memoir of her dangerous journey, Louisa tolerable Sailor in Petticoats” (Aikman, Louisa’s songbook was purchased was already dreaming of “…a voyage to 63), and “… a watery Grave is not in 1992 by the Music Division of the the West Indies” (Aikman, 70). After the yet ready for me” (Aikman, 3). Louisa Library of Congress, where it is housed Revolutionary War was over, Louisa made turned to singing or playing the guittar today with the call number M1.A633 another perilous trip across the ocean, when the hazards of the trip permitted. 1769 (Case). On the spine of the vol- from London to Jamaica in 1781/82 She recalled that “…conversation, with a ume is the binder’s title: Songs. Louisa in order to marry Alexander Aikman, a few songs from the Ladies, beguiled the Susannah Wells. 1770-4. An anonymous Scottish-born printer formerly appren- time very pleasantly” (Aikman, 41). Her sheaf of nine sides on five loose type- ticed in her father’s shop in Charleston. books and sheet music were precious pos- script pages—probably prepared by the Louisa bore two sons and eight daugh- sessions, and modern scholars are lucky seller, antiquarian dealer and musicolo- ters in Jamaica before her final move that her songbook survives; one of her gist Richard MacNutt—accompanies the to England, where she died at age 76. trunks containing music was confiscated volume of songs, explains its provenance, Her music volume undoubtedly passed after her departure from South Carolina and lists the contents of the set. The 109 (Aikman, 33). individual song titles can be reviewed in continued on page 03

2 The Bulletin of the Society for American Music • Vol. XXXVI, No. 1 continued from page 02 Wells] in the Year 1778 and written from memory only Van Winkle, & Cifaldi, Susan. 2002. Early American in 1779. New York: New York Historical Society; Secular Music and Its European Sources, 1589—1839: through many family hands, but more reprint, 1968, New York: New York Times. The An Index. Annapolis, Maryland, The Colonial Music than 230 years after leaving Charleston, 1906 imprint is available online using a search of Institute. www.colonialmusic.org or http://www. Google Books with keywords Louisa Wells Aikman, colonialdancing.org/Easmes/index.html Louisa’s well-traveled songbook has or using the link: http://books.google.com/books? returned to the Americas to a permanent Miller, Bonny H. [forthcoming] Index of British id=RCMuAAAAYAAJ&pg=PA108&dq=%22Louisa Magazine Music to 1800. www.colonialmusic.org home in the Library of Congress. +wells+aikman%22&cd=1#v=onepage&q=&f=false Wells, Louisa Susannah (compiler). [1775] Songs. Butler, Nicholas. 2007. Votaries of Apollo: The St. Resources Louisa Susannah Wells. 1770-4. Bound volume of Cecilia Society and the Patronage of Concert Music in song sheets housed in the Music Division of the Aikman, Louisa Susannah Wells. 1906. The Journey Charleston, South Carolina, 1766—1820. Columbia: Library of Congress (M1.A633 Case). Purchased of a Voyage from Charleston, S. C., to London under- University of South Carolina Press. March 18, 1992. taken during the American Revolution by a Daughter Keller, Robert M., Camus, Raoul F., Keller, Kate of an eminent American Loyalist [Louisa Susannah

American Music and Outreach on the Radio: The Holy Librarians’ Archive of Weird, Rare, and Interesting Music by Melissa Ursula Dawn Goldsmith pose parodies of bluegrass music sponta- musical running joke. and Tony Fonseca neously, the idea for The Holy Librarians In the typical show, which takes the began with spontaneous musings, song form of faculty outreach to students, the Our radio show, The Holy Librarians’ parodies, and impromptu comedy rou- two give a brief musicology lesson every Archive of Weird, Rare, and Interesting tines which were, to be frank, a response 30 minutes or so, explaining elements Music, was conceived as a play on the title to the boredom of driving. Eventually such as the origins and development of of the Lawrence Lipton book The Holy we toyed with the idea of recording our a song, instrumentation choices (perfor- Barbarians (New York: Julian Messner, banter and creating a radio show, so when mance forces), a band’s history, or even 1959), which chronicles of the lives, the university n, Jake Shimabukuru, and chord progressions and rhythmic details. activities, and aesthetics of the beat poets Buffy St. Marie; and experimental rock Typically, halfway through the two–hour of Venice, California. In fact, the first bands and composers like Harry Partch, show, the two perform a second poem. show aired fifty years to the day Lipton T.V. on the Radio, and Ironhorse (a blue- The themes have included murder ballads signed his Preface. We are both librar- grass band from Alabama which performs (with an emphasis on the ballad “Pretty ians––we don’t just pretend to be librar- renditions of rock bands like Led Zepplin, Polly”); oddball covers of songs; a tribute ians on the radio––with strong interests Metallica, Ozzy Osbourne, and Modest to the songs of friends John Lennon and in American music and poetry. Melissa Mouse). DJs LC and Dewey bring a Harry Nilsson; songs in other languages Ursula Dawn Goldsmith (known on the lot of humor and silliness to the show, (the “No Habla Anglais Show”); The show as DJ LC) earned her PhD in musi- but they also give context to the songs “Kitty–Kat Show” (featuring songs about cology from Louisiana State University on their playlists through musicological cats); a tribute to ukuleles; a tribute to and has been studying musical life in the discussion, musical analysis, or literary The Cars and its band members; and other Venice since 2004, when she started analysis. In homage to Lipton and the topically themed shows that relate espe- to write about Jim Morrison and the beat poets, the show begins with a beat cially to students, such as “The I Hate My underground newspaper the Los Angeles or avant garde poem, usually accompa- Roommate Show”; “The Armageddoon Free Press. Tony Fonseca (known on the nied by wind chimes, bongos, and other Show, or It’s The End of the Semester as show as DJ Dewey) earned his PhD in percussion instruments (claves, shakers, We Know It: A Musical Salute” (the word English literature from the University of güiros, cabasas, drums, or cymbals), fol- “Armageddoon” is purposely misspelled— Louisiana at Lafayette, where he devel- lowed by a note on the poet, and then it is a combination of Armageddon and oped a strong interest in the poetry of the introduction of the show, the week’s Brigadoon); and “The All I Want for modernists like William Carlos Williams theme, and one of the show’s tag lines. Christmas Show.” Like the show itself, and Ezra Pound, as well as postmodern Some of the tag lines are original cre- themes are usually conceived during road experimental schools of poetry—particu- ations, like “Ride the vibe” and “Anarchy trips; often the preparation for any one larly those of the Beats, the Language, for the people.” Others are parodies of theme will take 8-10 hours of gathering and the Black Mountain Poets. pop culture icons, such as “Shun the music, reformatting it to work on the sta- Our radio personae, DJs LC and mainstream. Shun. Shunnn” (based on tion’s Mega–Seg software, and scripting Dewey, were actually born during two– Charlie the Unicorn, a Youtube phenom- banter, music lessons, and original paro- hour road trips between Thibodaux and enon) or “We control the amplitude, we dies. LC and Dewey have already created Baton Rouge every Monday morning control the modulation. You have reached two fictional sponsors, Monkey Mints and Friday afternoon. Just as the story the outer limits of radio” (a parody of the and The Rock Lobster (A B–52s themed goes that Michael McKean with Annette opening of The Outer Limits). The bulk seafood restaurant), for which they have O’Toole wrote much of the music for the of the show involves the DJs’ playing fake commercials complete with jingles mockumentary A Mighty Wind (2003) rare and off–beat music that fits a theme, based on rock songs, and have created while they were driving from California loosely and/or comically, often pairing various fictional listeners: they are quite to Canada, when the two decided to com- and grouping songs in order to play out a continued on page 04

The Bulletin of the Society for American Music • Vol. XXXVI, No. 1 3 continued from page 03 station with a range of under 30 miles, so facebook.com/holy.librarians?ref=ts), and at the urging of one of Dewey’s friends each week they post the play list from fond of using the fake phone call comedic who lived out of range, the two started the previous week, with links to Youtube routine made popular by Bob Newhart. to consider an online presence. They videos for the songs when they are avail- The two also spend some time looking purchased web space, but the prohibi- able. They now have fans and listeners as for composers (like Dawn K. Williams) tively expensive cost of licensing (rein- far away as Tokyo, Kuala Lumpur, and and unsigned musicians (like Florida’s forced by the Internet Radio Equality Sidney. In time, LC and Dewey plan to The Arcadia Hillbillies) who allow their Act) soon threw a monkey wrench into add various archives to the site: their play music to be aired, and other unsigned their plans. The cost of licensing also lists with links to Youtube video when artists on Youtube who might consent to prohibited KNSU from streaming online available; original .mp3 files featuring their songs being played at KNSU. through a website like UStream, so LC parodies and fictional commercial ads Regardless of the program’s potential and Dewey came up with the idea of cre- created by the duo; and music lessons of for engagement, the fact remained that it ating a Facebook presence (http://www. the week. was aired for two hours a week, on a radio

from the president nities to meet, listen to, and talk with Despite the challenges posed by slashed eminent Canadian musicians. Two new travel budgets, and budgets in general, conference seminars, entitled “The Art and the normal stresses of everyday life, of Association,” which will examine insti- I hope you will make an effort to visit tutions as agents of American Music in Ottawa for what I know will be a reward- theory and practice, and “Nineteenth- ing week. Whether you crave a close-up Century American Music Studies,” an look at First Nations culture, a bicycle overview of the state of research in that ride along the Rideau Canal, a sentimen- era, should be interesting additions to the tal visit to the home of hockey and curl- usual program of concerts, papers, and ing, or an elegant meal at Le Buffet des poster displays. You will want to examine Continents, all of this and much more the Society website and read the seminar awaits you there. reports beforehand since no formal papers I am looking forward to greeting will be read at these discussion sessions. friends old and new. I also expect to be As Jim Deaville explained in the fall bul- conferring with past SAM presidents in letin a variety of other treats await you in drawing up some long-range plans as Dear Friends and SAM members, bilingual, multicultural Ottawa. Besides well as announcing the next stages in our numerous musical delicacies, there will be Sustaining Scholarship campaign to cre- Our upcoming conference in Ottawa guided tours of the Canadian Parliament ate a $250,000 endowment, for bolster- next March will be the first SAM meeting (for those who prefer indoor sports), ing the future health and financial stabil- outside the United States since Musical the Library and Archives of Canada, the ity of the Society. See you in March, eh! Intersections, the Toronto mega-confer- Museum of Civilization, and an outing to ence of 2000, and of course it is the observe the traditional process of maple Cordially, first SAM meeting ever in the Canadian sugar gathering. Tom Riis national capital. The cultural and musical programs on offer will be sumptuous. As I write this message, at the time of The Bulletin of the Society for American Music the Copenhagen climate change confer- The Bulletin is published in the Winter (January), Spring (May), and Summer (September) ence, I am reminded that our newest by the Society for American Music. Copyright 2008 by the Society for American Music, honorary member will be R. Murray ISSN 0196-7967. Schafer, an extraordinary composer and creative thinker about “acoustic ecology” Editorial Board and “soundscapes,” ideas that have much Editor...... Kendra Leonard ([email protected]) to do with environmentalism defined in the broadest sense. (Canadians have Reviews Editor...... Brian Moon ([email protected]) roughly nine times more land mass avail- Design and Layout ...... Allison Gallant ([email protected]) able per capita than the United States, Indexer...... Laura Pruett ([email protected]) and we all know that big rooms have fascinating acoustical properties!) Items for submission should be addressed to Kendra Leonard, 5216 Oleander Road, Drexel Our program and local arrangements Hill, PA 19026, or, preferably, submitted as an attachment to e-mail. Photographs or other committees have prepared an action- graphic materials should be accompanied by captions and desired location in the text. filled series of sessions, exploring “The Deadlines for submission of materials are 15 December, 15 April, and 15 August. Idea of North,” and featuring opportu-

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

Lisa Cleveland, Manchester, NH The Society for American Music Lars Helgert, Alexandria, VA David Gramit, Edmonton, Alberta The Society for American Music promotes research, educational projects, and the dissemination of infor- Benjamin Haas, Carrboro, NC mation concerning all subjects and periods embraced by the field of music in American life. Individual and institutional members receive the quarterly Journal of the Society for American Music (JSAM), the Bulletin, Judith Klassen, Winkler, Manitoba and the annotated Membership Directory. Direct all inquiries to The Society for American Music, Sean Gregor, Austin, TX Stephen Foster Memorial, University of Pittsburgh, Pittsburgh, PA 15260; (412) 624-3031; SAM@ Sarah Baer, Easton, PA american-music.org. Melinda O’Brien, Palm Springs, CA Officers of the Society Christy Miller, Lawrence, KS President ...... Thomas Riis Katie Buehner, Houston, TX Vice-president...... Denise Von Glahn William Cheng, Cambridge, MA Past President...... John Graziano James Wright, Ottawa, Ontario Secretary...... Carol Hess Treasurer...... Doug Bomberger Dylan Robinson, Toronto, Ontario Members-at-large ...... Sandra Graham, Charles Garrett, Tammy Scott Douglass, Manakin Sabot, VA Kernodle, Beth Levy, Michael Pisani, Daniel Goldmark Marc Gidal, Jamaica Plain, MA Editor, Journal of the Society for American Music...... Leta Miller Kimberly Greene, Corona, CA Editor, SAM Website...... Patrick Warfield Jessica Brown, Halifax, Nova Scotia Executive Director ...... Mariana Whitmer Paula Musegades, Waltham, MA Standing Committee Chairs: Joy Doan, Cleveland, OH Book Publication Subvention (Johnson Bequest): James Lovensheimer, chair (2008-2010); Conference Marta Burton, Denver, CO Site Selection: Joice Waterhouse Gibson; Cultural Diversity Committee: Tammy Kernodle; Development: Maggi Smith-Dalton, Salem, MA empty; Finance: Douglas Bomberger; Honors and Awards: Judith McCulloh; Interest Group Council: Beth Levy; Membership: Karen Bryan; Nominating: Judith Tick; Public Relations: Sara Nodine; Maria Noriega, Calgary, Alberta Publication Council: John Graziano; Sight and Sound: Tim Brooks; Silent Auction: Douglas Shadle and Nathaniel Parker, Scranton, PA Monica Ambalal; Web Site Committee: Patrick Warfield SAM Announces New Non- Appointments and Ad Hoc Committees: Academic Institutional Affiliate ACLS Delegate: Michael Broyles; Archivist: Susan Koutsky; Committee on Publication of American Membership Category Music: Judith McCulloh; SAM History Project: Denise Von Glahn; US-RILM Representative: Denise The Society for American Music is excited Von Glahn; Registered Agent for the District of Columbia: Samuel Brylawski. to introduce a new level of membership Interest Groups: for organizations other than academic American Band History: Susan Koutsky; American Music in American Schools and Colleges: Christine institutions. Being a Non-Academic de Catanzaro and James V. Worman; Connecting Outside the Academy: Joseph Horowitz; Dance: Renee Institutional Affiliate provides short-term Camus; Early American Music: Nicholas Butler; Folk and Traditional Music: Ron Pen; Gay/Lesbian/ advertising for your new products, services, Bisexual/Transgendered: David Patterson; Gospel and Church Music: Roxanne Reed; Historiography: and upcoming events, full-year advertising Michael Pisani; Music of Latin America and the Caribbean: Paul Laird; Musical Theatre: James in the Directory and Society website, Lovensheimer; Popular Music: Philip A. Todd; Research on Gender and American Music: Melissa de and reduced prices on other advertising Graaf; Research Resources: Alisa Rata; Twentieth-Century Music: David Patterson opportunities. Electronic Resources Membership Packages Listserv: [email protected] All Affiliate membership packages include Website: http://www.american-music.org a special Directory listing and are eligible for a reduced rate, sponsorship link on our website ($25 for six months; $45 for one year). Annual Conferences • Basic affiliate: $60 membership includes 36th Annual Conference, Ottawa, Ontario, Canada a ¼ page advertisement in one issue of Michael Pisani, Program Committee Chair the Bulletin James Deaville, Local Arrangements Chair • Premium affiliate: $85 membership 37th Annual Converence, Cincinnati, Ohio includes a ½ page advertisement in one bruce d. mcclung, Local Arrangements Chair issue of the Bulletin and eligibility for a reduced rate on a full page advertisement in the Conference Program • Sponsor: $2500 membership includes advertisements in the Bulletin and conference program as well as a prominent sign at the annual conference.

The Bulletin of the Society for American Music • Vol. XXXVI, No. 1 5 Special Events and New Formats in Ottawa 2010 We invite all of you to have a capital the conference hotel: among museums, We avoided too many that were limited experience in Ottawa, Canada’s national the Bank of Canada/Currency Museum, solely by period or genre. While you may treasure! The hard work of the Program the historic Bytown Museum, National find a session embracing unified themes Committee and the Local Arrangements Archives of Canada, and the Canadian such as Florenz Ziegfeld on Broadway Committee has paid off, resulting in Museum of Contemporary Photography; or the “Cold War,” for example, you are a rich program and memorable spe- other nearby attractions include the his- just as likely to find eighteenth-century cial events that highlight the meeting’s toric Byward Market (where President papers mixed in with twentieth, Latin Canadian location and its specific site Obama bought the confection called American with Canadian, Francophone in the nation’s capital, while offering the “beaver-tail”), the beautiful Ottawa River with Anglophone, or popular music with normal array of papers and annual SAM walkways, and the Tomb of the Unknown classical. We hope this will encourage events. One of the high points will be Soldier. Further away, and thus requir- you to hear papers in the music of the the Friday evening tribute to the dean of ing a taxi or bus, are the Canadian War Americas that you might otherwise not Canadian composers, R. Murray Schafer, Museum, the Changing of the Guard have considered. who will be inducted as honorary mem- Ceremony at Rideau Hall (the Governor- This is also the first year for the new ber for 2010 at a concert of music by him General’s residence) and – rather far but seminar format. There are two seminars and other leading Canadian composers. quite interesting – the “Diefenbunker – that meet on Thursday afternoon. The Attendees will have the opportunity for Canada’s Cold War Museum” (nicknamed papers for these will be made avail- a more intimate encounter with Schafer after Prime Minister John Diefenbaker). able in advance through the SAM web- earlier that day through a special sound- The Westin Hotel itself is located on site, beginning in mid-January. When walk he will guide through the streets of the Rideau Canal, a UNESCO World you register for the conference, you will Ottawa. (Space is limited, so be sure to Heritage Site and North America’s old- receive a password that will allow you sign up early.) est fully operating canal: in winter, it to get into the system where the semi- Other Friday-afternoon excursions becomes the world’s longest skating rink. nar documents will appear as pdf files. provide a range of Canadian cultural All of these opportunities are served up (Access to these documents, in other experiences, including a guided tour of to you with Canadian savoir faire, in a words, requires conference registration.) our unique Parliament (with a lecture- world-class bilingual city that is known Travel to Ottawa is likely to be more demonstration of the national carillon), for its architectural and natural beauty. expensive for those coming from the U.S. a music-themed visit to the stunning While Canadian musical life is cer- Plan early, and consider train and bus National Gallery of Canada and its won- tainly featured prominently in this year’s travel as well, if coming up along the east derful collection of Tom Thomson and meeting, the program committee worked coast. Also note that Montréal is only the Group of Seven, and a guided tour hard with the vast array of proposals to two hours away, with flights into Trudeau through the Museum of Civilization (the make sure that all aspects of music in the International Airport generally cheaper Canadian equivalent of the Smithsonian) Americas were well represented, as well than to Ottawa and easy direct rail from with a performance of Inuit throat sing- as solid representation from a variety of that airport to Ottawa. Check the SAM ing. For the banquet, we are fortunate to genres, regions, and periods. A princi- website for more details on travel and for have been able to book the local Métis pal theme of the conference, “the idea the full conference program, now posted ensemble Jig on the Fly, which offers a full of North,” is also highlighted in several in pdf format. Nous espérons vous voir à program of Métis and other First Nations sessions. There were a large number of Ottawa en mars prochain! dances to the accompaniment of fiddle – proposed panels, and we regret that only James Deaville, you will want to limber up for this event! a portion of these could be accommo- Local Arrangements Chair Attendees who wish to strike off on their dated in the program. The committee Michael Pisani, own will find a bewildering assortment made what it thinks are some innovative Program Committee Chair of attractions within walking distance of decisions in the planning of sessions.

student forum By Doug Shadle and Monica Ambalal Student Travel Endowment. This year, approaching! Student Forum organizes we request that donations be carried with several events, and we are always looking Call for Items for the Silent Auction you in your travel luggage. Mailed dona- for volunteers to help. If you’d like to get It is time to begin thinking about what tions will have to travel through Canadian involved, contact co-chairs Doug Shadle items you may have that are ready to be customs, and we highly discourage taking ([email protected]) or Monica given to the SAM Silent Auction in 2010. this route. Contact Student Forum co- Ambalal ([email protected]). Dusty, crusty, shiny, or new: all items of chair Monica Ambalal (dshadle@email. Ottawa Events: This year’s Student interest to the SAM membership will be unc.edu) or Executive Director Mariana Forum panel at the annual­ meeting will accepted. Books, which tend to increase Whitmer for more information. focus on rethinking the pedagogy of revenue substantially, are especially wel- American music. What are new ways for come. Donations are tax deductible, and Getting Ready for Ottawa teachers to conceive of “American” music all of the auction’s proceeds benefit the The annual meeting in Ottawa is fast continued on page 07

6 The Bulletin of the Society for American Music • Vol. XXXVI, No. 1 continued from page 06 Plan now for Cincinnati 2011 and how can we creatively enact these conceptions in the classroom? The Panel While it might seem early, it is time to more deeply explored; 2) an ongoing is scheduled for 12:45–1:45 on Saturday, consider participating in the 2011 meet- problem in the nature of American Music March 20. Panelists include Ron Pen ing in Cincinnati, Ohio. The Society studies can be more extensively tackled; (University of Kentucky), Carol Hess invites proposals for papers, panels, con- 3) a topic that cannot be contained in (Michigan State University), Kiri Miller certs, lecture-performances, and posters a single session can be explored across (Brown University), and David García for this meeting. The new seminar format several sessions and perhaps several days; (University of North Carolina–Chapel will continue in 2011. This format allows and 4) accepted papers could be read in Hill). Check the program for the location. for a different kind of session that bears advance of the conference so that sessions Student Forum will hold a meeting significantly on specific issues, genres, can be devoted to a moderated discussion on Friday at 5:30 p.m. to elect a new co- disciplines, styles, or regions of American of the topic. chair and discuss student ideas and issues. Music in which: 1) a specific theme or For seminar coordinators (due February Check the program for the location, or topic that reflects some current preoc- 12, 2010): A broad topical theme should look for signs at the conference. After the cupation in the field, recent hot-button first be proposed by the moderator or meeting, we will all relax at the Student issue, important but neglected area of Fo­rum dinner. We hope to see you there! study, or new field of research may be continued on page 10 Mark Tucker Award for Outstanding Conference Paper: Students who will be presenting papers­ at the Ottawa conference Journal of the Society for American Music are eligible to compete for the 2010 Mark Volume 4, Number 1 (February 2010) Tucker Award. For information on where Contributor and when to submit applications, please Articles see the society website: www.american- Rekindling Ancient Values: The Influence of Chinese Music and Aesthetics on Harry Partch music.org S. Andrew Granade Silent Auction: The Silent Auction, Cultural Policy in American Music History: Sammy Davis, Jr., vs. Juvenile Delinquency held annually at the Society meetings, Anna Nekola and Bill Kirkpatrick supports the Student Travel Endowment. Cultural Diplomacy as Cultural Globalization: The University of Michigan Jazz Band in Latin The auction is now coordinated entirely America by Student Forum. This means we need Danielle Fosler-Lussier your help! As al­ways, we seek donations of Reviews books, record­ings, and other SAM related materials for the auction. If you would Books like to help with planning, acquiring Deniz Ertan, Dane Rudhyar: His Music, Thought, and Art materials, or running the auction please Catherine Parsons Smith contact co-chair Monica Ambalal Krin Gabbard, Hotter than That: The Trumpet, Jazz, and American Culture ([email protected]). Ingrid Monson Student Travel Endowment Award Walter Everett, The Foundations of Rock: From “Blues Suede Shoes” to“Suite: Judy Blue Eyes” Winners: All recipients of the Student Albin Zak Travel Award will be required to assist Felix Meyer and Anne C. Shreffler, Elliott Carter: A Centennial Portrait in Letters and Documents with the Silent Auction, the conference Éve Poudrier registration desk, and/or paper sessions. Recordings If you have special requests about when or where you wish to work (e.g., help at Peter Lieberson, Rilke Songs, The Six Realms, Horn Concerto; and Neruda Songs W. Anthony Sheppard a paper session you would like to attend), please contact Doug ([email protected]. Secrets. Mark Feldman, Uri Caine, Greg Cohen, and Joey Baron edu) after checking the program. Given Tamar Barzel sufficient notice, we will make every The Great War: An American Musical Fantasy effort to accommodate your requests. Christina Gier Please note that all recipients must regis- Multimedia ter and remain for the entire conference. East of Havana. Jauretsi Saizarbitoria and Emilia Menocal, directors Roommate Search: Help stretch your Sujatha Fernandes travel budget and get to know a fellow SAM student member by participating And coming in JSAM Volume 4, Number 2 (May 2010): in the Student Forum roommate search. Annegret Fauser, “ ‘Dixie Carmen’: War, Race, and Identity in Oscar Hammerstein’s Carmen If you need help find­ing a roommate for Jones (1943)” Ottawa, please email Monica (mambalal@ Tamar Barzel “An Interrogation of Language: ‘Radical Jewish Culture’ on New York City’s hotmail.com). Downtown Music Scene” We look forward to seeing you in Ottawa! Michael Garber, “Some of These Days” and the Study of the Great American Songbook

The Bulletin of the Society for American Music • Vol. XXXVI, No. 1 7 book review

Cuban Zarzuela: Performing Race and Gender on Havana’s Lyric Stage. By Susan Thomas. Urbana: University of Illinois Press, 2009. 250 pp. ISBN-13 9780252033315. Cloth.

are particularly welcome. Thomas’s book Lago (1840); Bellini—Il Pirata, 1834), La – John Koegel presents a compelling case for including Sonnambula (1836), Norma (1836) (see the zarzuela—both the Spanish penin- Loewenberg). Susan Thomas presents a fascinating sular and Latin American forms—in the Chapters 2-6 of Cuban Zarzuela offer interpretation and tightly focused look ongoing dialogue about the American five inter-related case studies that make at the vernacular zarzuela—the Spanish- musical theater since zarzuela has had a up the main part of the book and rep- language popular musical theater—as great impact throughout the Americas, resent Thomas’s most important contri- created in Cuba in the 1920s and 1930s including the United States (see Bissell, bution; her approach provides a model by composers Ernesto Lecuona (1895- Kanellos, and Sturman). Cuban Zarzuela for future research. She carefully applies 1963), Gonzalo Roig (1890-1970), and takes its place alongside a growing num- theories underpinning studies of gender Rodrigo Prats (1909-80). Thomas shows ber of works in English on Cuban and and race to this important theatrical how issues of race and gender played out Latin American zarzuela and musical life repertory that was rife with racial and on stage in their key works, especially (see Moore and Orovio). gender conflicts and signifiers. Thomas Lecuona’s El cafetal (1929), María la O In Chapter 1, “Cuban Lyric Theater in wisely limits her coverage to the 1920s (1930), and Rosa la China (1932); Roig’s Context,” Thomas gives a brief overview and 1930s, when this type of Cuban zar- Cecilia Valdés (1932); and Prats’s Amalia of musical theater in Cuba, mainly from zuela was developed, and fully integrates Batista (1936). She convincingly demon- the early nineteenth century on, and her extensive analytical discussion of the strates how Havana’s musical theater rep- provides a useful definition of the differ- music of the main zarzuelas into the ertory represented and debated national ent types performed in Havana (opera, narrative. (Different varieties of Cuban identity, race relations and politics, gen- operetta, zarzuela, sainete, revue, and zarzuela existed long before her begin- der and class roles, developments in pop- other forms). Early-to-mid-nineteenth- ning date of 1927.) Scholars have rarely ular music styles, vestiges of colonialism, century Havana was a major center for given Latin American popular musical and the “power of Cuba’s white female Italian opera with its Teatro Tacón, one theater this kind of deep-level reading to bourgeoisie to influence the entertain- of the most luxurious and beautiful opera tease out important musical and socio- ment industry” (2). Cuban zarzuela was houses in the world. The Italian opera logical implications. Thomas shows how a hybrid mix of popular theater, musical troupes that performed there also exten- this form of Cuban nationalist zarzuela styles, and elite-class culture. sively toured the United States to great emerged in 1927 and flourished through While this genre is probably unfa- acclaim (see Preston). From the mid- the 1930s with the works of Lecuona, miliar to most North American readers, nineteenth century, Spanish zarzuela was Roig, Prats, and other composers. She many will know some of the individual also a dominant form in Havana. Thomas also demonstrates the fluidity between songs from these Cuban zarzuelas that points here to the inter-connected nature theatrical genres and the musical and became popular as separate numbers (e.g. of operatic and theatrical repertories and dramatic hybridity that was at their core. Lecuona’s “María la O” and “Siboney”). performance histories in Latin American These Cuban zarzuelas combined ele- There has been a revival of interest in and North American cities, which high- ments from Spanish zarzuela with a bel Spanish zarzuela in recent years, in Spain, lights the need for careful and accurate canto, operatic approach to melody, as Latin America, the USA, and elsewhere, studies from cross-geographic perspec- well as local stereotypical blackface com- and new recordings of classic works, tives. A case in point is the lack of edy and real Afro-Cuban culture, with the with world-class singers such as Plácido documentary studies on Italian opera and son, rumba, and tango-congó. Very much Domingo, have been released. CD reis- musical theater in Havana on par with to her credit, Thomas discusses how sues of earlier recordings of classic Spanish Vera Brodsky Lawrence’s Strong on Music Cuban zarzuelas reflected some North zarzuelas are also readily available. Other series for New York. Such studies would American, Tin Pan Alley influences. Spanish and Latin American opera sing- make clear Havana’s substantial theatrical This kind of cross-cultural comparative ers such as Conchita Supervía, Miguel history, which is not well known, espe- approach is extremely valuable in musical Fleta, Victoria de los Ángeles, Teresa cially outside of Cuba. Thomas men- theater studies. Berganza, José Carreras, and Montserrat tions that a series of laws in Cuba banned Though scholarly research in Latin Caballe have also promoted zarzuela (see foreign-language operas and non-Spanish American discography is still in its rela- Casares and González Peña, Instituto singers during the early nineteenth centu- tive infancy, Spottswood’s Ethnic Music Complutense de Ciencias Musicales, ry (12). If this occurred, it must have been on Records and Díaz Ayala’s Cuba Canta Pujol, Webber, Zarzuela.net). Recordings before the late 1820s and 1830s, when y Baila (the latter is available online and of Cuban zarzuelas are more difficult Rossini’s and Bellini’s operas were pre- in print) place Cuba in the forefront of to find, however, and thus Thomas’s miered in Havana in Italian: Rossini—Il Latin American countries in this regard. informative introduction to the topic Barbiere di Siviglia (1828), Mosè in Egitto and musical and sociological analyses (1834), Semiramide (1835), La Donna del continued on page 09

8 The Bulletin of the Society for American Music • Vol. XXXVI, No. 1 continued from page 08 script copies throughout Cuba and the unknown subject and since it is one Spanish-speaking theatrical world (see of the first to apply in a serious and The extensive Díaz-Ayala Collection at Díaz Vázquez). Librettos were regularly well-grounded, yet approachable way the Florida International University contains published for use by performing compa- complicated issue of race and gender to much primary source material related nies and for sale to audiences. Because the zarzuela and to musical theater stud- to Thomas’s topic. Despite its title, the Thomas had access to archival collections ies. Because of its many fine attributes, Strachwitz Frontera Collection of Mexican in Cuba, she was able to obtain rare cop- Thomas’s book will be of interest to a and Mexican American Recordings, host- ies of sheet music from Cuban zarzuela wide readership. ed by UCLA, also includes many record- productions, which made it possible for ings of Cuban theatrical and popular her to include a large number of musi- Works Referenced music, some by Lecuona, Grenet, Roig, cal examples. The reader will especially Bissell, Sally. “Manuel Areu and the Nineteenth- Prats, and other Cuban composers stud- appreciate the inclusion of these examples Century Zarzuela in Mexico and Cuba.” Ph.D. diss., University of Iowa, 1987. ied by Thomas. The author gives a sam- since they allow the author to provide pling of recordings of the main works extensive and accessible musical analyses Casares, Emilio, and María Luz González Peña, eds. Diccionario de la zarzuela: España e Hispanoamérica. discussed in the book in the discography, that demonstrate how each relates to the 2nd ed., 2 vols. Madrid: Instituto Complutense de combined with a list of scores and libret- main themes of race and gender. This Ciencias Musicales, 2006. tos, but without full discographical infor- kind of musical analysis is rare in musical Díaz Ayala, Cristóbal. Cuba canta y baila: Discografía mation. A separate and more complete theater studies, although it would have de la música cubana. Primer volumen: 1898-1925. discography would have made a very been helpful if these musical examples San Juan: Fundación Musicalia, 1994; also Cuba useful addition, especially since this is had been identified by title in the cap- Canta y Baila: Encyclopedic Discography of Cuban mostly unfamiliar repertory. Spottswood, tions. Music; http://latinpop.fiu.edu/discography.html. Díaz Ayala, and the Strachwitz Collection Thomas’s writing style is elegant and Díaz Vázquez, Yoanna Lizett. Catálogo de los can clear up confusion about the history sophisticated yet free from distracting jar- Fondos Musicales del Teatro Tacón de La Havana. of the recording of Cuban zarzuela and gon, and she cogently explains important Partituras y libretos. Madrid: Asociación Española de musical theater. For example, Thomas issues and scholarly interpretations relat- Documentación Musical, 1999. states that Ramón Espigul and Margarita ing to race and gender as they were played Díaz-Ayala Cuban and Latin American Popular Cueto were members of Havana’s Teatro Music Collection, Florida International University; out on Havana’s stages. Her emphasis on http://latinpop.fiu.edu/. Alhambra Company and made record- how middle-class white women patron- ings of its repertory between 1910 and Instituto Complutense de Ciencias Musicales; http:// ized and helped determine the trajec- www.iccmu.es/ 1920 (17). According to Díaz Ayala, tory of Cuban national zarzuela in the Cueto (born 1900), a Mexican soprano, Kanellos, Nicolás. A History of Hispanic Theater: 1920s and 1930s is especially compelling, Origins to 1940. Austin: University of Texas Press, only started recording Cuban music on though it tends to overshadow the role 1990. a regular basis in 1928, in New York. taken by male audience members. Since Lawrence, Vera Brodsky. Strong on Music: The New Espigul, however, was a member of that box office reports, especially those that York Music Scene in the Days of George Templeton famous company and made numerous indicate the gender of audience members, Strong, 1836–1875. 3 vols. Chicago: University of recordings in the 1910s. Discographical are lacking, Thomas’s assertion about the Chicago Press, 1995, 1999. research can significantly inform histori- dominant role of women in zarzuela audi- Loewenberg, Alfred. Annals of Opera, 1597-1940. 2nd cal interpretations of stage repertory and ences is supported by necessity by some ed., 2 vols. Geneva: Societas Bibliographica, 1955. performers. contemporary newspaper and magazine Moore, Robin. Nationalizing Blackness: Afrocubanismo The dissemination of Spanish zarzu- reviews and other accounts rather than and Artistic Revolution in Havana, 1920-1940. ela scores throughout the Americas, and quantifiable data. Unfortunately, pho- Pittsburgh: University of Pittsburgh Press, 1997. the development of national forms of tographs of composers, performers, and Orovio, Orovio. Cuban Music from A to Z. Durham: Latin American zarzuela in Mexico City, theaters were not included; these would Duke University Press, 2004. Havana, Buenos Aires, and other cit- have made it easier for readers to imagine Preston, Katherine K. Opera on the Road: Traveling ies are important issues. Thomas points this mostly vanished form of vernacular Opera Troupes in the United States, 1825-60. Urbana: out that while some individual songs musical theater. University of Illinois Press, 1993. from Cuban zarzuelas were published, A future printing will give the University Pujol, Jordi. “Blue Moon Serie Lírica”; http://www. complete piano-vocal scores were not. of Illinois Press the opportunity to correct zarzuela.net/ref/int/pujol.htm. This was different from the situation some obvious errors. Many of the impor- Spottswood, Richard K. Ethnic Music on Records: with Spanish zarzuelas, since the major tant references cited in the notes in brief A Discography of Ethnic Recordings Produced in Spanish publishers such as Casa Dotesio the United States, 1893 to 1942. 7 vols. Urbana: form do not appear in the bibliography. University of Illinois Press, 1990. and later Unión Musical Española regu- Some persistent typographical errors can larly issued in Spain and Latin America Strachwitz Frontera Collection of Mexican and also be corrected: revue instead of musical Mexican American Recordings, University of all the numbers from popular works in review, censor instead of sensor, premiere California, Los Angeles; http://digital.library.ucla. complete piano-vocal versions—minus not premier for first performance, strange edu/frontera/. the spoken dialogue—as well as indi- symbols inserted for Spanish accents in Sturman, Janet. Zarzuela: Spanish Operetta, American vidual songs from these shows. Orchestral the bibliography. These comments aside, Stage. Urbana: University of Illinois Press, 2000. scores of Spanish zarzuelas were rarely if Cuban Zarzuela is of significant value Webber, Christopher. The Zarzuela Companion. ever published, and these scores as well to American musical theater scholarship Lanham: Scarecrow Press, 2002. as orchestral parts circulated in manu- because of its coverage of a relatively Zarzuela.net; http://www.zarzuela.net.

The Bulletin of the Society for American Music • Vol. XXXVI, No. 1 9 continued from page 07 board and will be announced by the time general theme. We encourage materials coordinator for the seminar. Topics SAM meets in Ottawa in March, 2010. that are recently published or “in press” should be issue-oriented and be con- For individual proposers/panelists (due as one kind of submission that would strued broadly enough so they cannot June 15, 2010): All abstracts should be be appropriate for the seminar structure. be contained in a single panel. Proposals submitted in the usual way by the regular Papers for the conference seminars will should consist of: a 500-word abstract SAM deadline, except that the specific be posted at a password protected site in outlining the theme, a bibliography, and seminar topic should be clearly specified. advance of the conference, where they a c.v. of the coordinator. The coordinator Unless the author specifies otherwise, may be read by interested SAM members. is also free to identify or recommend to abstracts not accepted for either of the The act of participating in the seminar the program committee two or three pre- two seminars will be considered by the constitutes the same level of participation senters. The coordinator is responsible for program committee for one of the regular in an academic conference as would a contacting presenters. Each session will sessions. A short précis of the paper may normal paper, and therefore those sub- be 90 minutes long with no limit on the be given by each of the panelists, but the mitting abstracts toward a seminar cannot number of panelists. Two proposals will bulk of the session will be devoted to dis- also submit toward a regular session.= be chosen by the program committee and cussion of the papers as they relate to the bulletin board In the Fall of 2009, the Duo “2” (flutist from this Society. He has also compiled a 1966, is a graduate of The Juilliard School Peter H. ­­­Bloom and harpist Mary Jane list of representative recordings covering and Harvard University. He has served Rupert) gave the North American pre- two centuries of American music, avail- on the faculties of Columbia University miere of American composer Elizabeth able under the title of Essential American and the State University of New York at Vercoe’s 2008 composition Butterfly Recordings Survey (www.americanmu- Albany where he has been a mentor to Effects (flute, alto flute, bass flute, and sicpreservation.com/EARS.htm). generations of younger composers and piccolo for one player, plus harp) at Lewis musicians. As a composer, Lifchitz has University in Illinois. The piece, written John Edward Hasse curated an exhi- composed works in numerous media for “2”, received its world premiere dur- bition, Jazz Composers: Duke Ellington spanning solo works to pieces for full ing their tour of Thailand earlier in the and Billy Strayhorn, at the Smithsonian’s symphony orchestra. And as a pianist and year. In other fall projects, Bloom gave National Museum of American History, conductor he has championed the music a recital at Christie’s Rockefeller Center, on view in spring and summer 2009. of composers encompassing a broad range demonstrating fine historical flutes The exhibition can be seen and heard of styles. at http://americanhistory.si.edu/docu- including, among others, the legendary Bill C. Malone mentsgallery/exhibitions/ellington_stray- was awarded a 2009 platinum flute made by the redoubt- Certificate of Merit by the Association for able American flute maker Verne Powell horn_1.html In a program broadcast in September 2009, Hasse helped solve a Recorded Sound Collections (ARSC) for for American flutist William Kincaid. Working Girl Blues: The Life and “mystery” about Billy Strayhorn for PBS his book Bloom also concertized in New York Music of Hazel Dickens, by Hazel Dickens and New England with mezzo-soprano History Detectives. In 2008, Hasse helped organize a State Department tour to Egypt and Bill C. Malone (University of Illinois D’Anna Fortunato (performing Daniel Press). Pinkham’s Vowels among other works), by the Smithsonian Jazz Masterworks and he appeared as featured guest solo- Orchestra, under maestro David Baker, Pianist and musicologist Cesar Reyes is ist with the MIT Festival Jazz Ensemble, and lectured on Louis Armstrong at the president of the committee Mexico performing Spanish Mood by American American University in Cairo and at the 2010: Two Hundred Years of Music, a composer Mark Harvey. For more infor- American Cultural Center in Alexandria. year long celebration of Mexican Music mation, email [email protected] or In 2009, for the State Department, Hasse in the United States commemorating the visit www.americasmusicworks.com. lectured—on Louis Armstrong and Duke Bicentennial of Mexican Independence Ellington—in Addis Ababa, Ethiopia; and the Centennial of the Revolution. Roger Lee Hall , a music preservation- Nairobi, Kenya; and Lusaka, Zambia. The celebrations opened with a Lecture- ist, is Moderator for a website focused recital on November at the American on five areas in American music: New Max Lifchitz has given a Lifetime Musicological Society conference at England music, Shaker music, Classical Achievement Award from the Zethus Fund Philadelphia. He also presented the sec- composers, Film music, and Popular for Contemporary Music. Composer and ond edition of the Latin American Piano songs. He has also formed a new sup- Zethus Fund Executive Director Robert and Song Festival of New York, the first port group known as: Society For Earlier Martin announced the $10,000 award for festival in the United States dedicated to American Music (www.americanmu- Lifchitz, whose involvement in new music the exploration of classical, folk and pop- sicpreservation.com/SEAMhome.htm) encompasses a broad range of activi- ular traditions of Latin American piano and is now seeking new members among ties—conductor, composer, pianist, and and song repertoire. For more informa- scholars, students, and musicians for par- the founder/director of the North/South tion and upcoming performances visit: ticipation and support of the preservation Consonance performing group, concert www.myspace.com/LatinoPianoFest. and performance of neglected American series, and recording label. Lifchitz, who music from the 17th to 20th centuries. He Deane Root has been named Editor in was born in Mexico City in 1948 and Chief of Grove Music Program at Oxford has compiled eight CDs now available has been based in the United States since continued on page 11

10 The Bulletin of the Society for American Music • Vol. XXXVI, No. 1 continued from page 10 developed over the last several months as University Press. Root, Professor of Music well as work with the staff at OUP to set and Director of the Center for American the course for the next phase of Grove’s Music at the University of Pittsburgh, development as a scholarly resource. Bulletin of the has worked as both a copyeditor and Ora Frishberg Saloman has published Society for American Music advisory editor on the 1980 New Grove Listening Well: On Beethoven, Berlioz, and Dictionary of Music and Musicians under Other Music Criticism in Paris, Boston, Stanley Sadie, was an integral part of the and New York, 1764-1890 (Peter Lang, Specifications and Rates for creation of Resources of American Music: 2009). The book contains twelve selected Advertisements A Directory of Source Materials, and is essays. Five chapters relate to musical life founder and director of the Voices Across and to the critical reception of works by The Bulletin of the Society for American Time project. Root will be creating a new Beethoven and then by Berlioz in Boston Music is the regular conduit for keeping and in New York between the 1840s and editorial board for the project and will members updated on the state of the oversee the review process for content 1890. discipline. It contains short articles and open discussions relating to American conference calendar music, and occasional reviews of books, recordings, and web resources. CFP: The American Music Research posals on any topic in American music It also includes information regarding Center at the College of Music, University between the Civil War and World War I, of Colorado at Boulder invites the sub- with priority to proposals relating to the conferences and performances, along mission of paper proposals for the sixth life and works of Edward MacDowell. with news relating to member activities. Susan Porter Memorial Symposium, Scholars are invited to submit a one- It is sent to members three times per year. October 2-4, 2010. Proposers may wish page proposal for papers of 20 min- Circulation: 1,000 copies. About 100 of to address broad social and economic utes duration. Deadline for submission: these go to libraries. subjects—including, but not limited to, May 30, 2010. MacDowell Symposium, ethnicity, gender, class, and race—with- Department of Fine and Performing Arts, SUBMISSION DEADLINES: in canonical works, or discuss specific Elizabethtown College, One Alpha Drive, 15 December, 15 April, and 15 August Broadway characters, productions and Elizabethtown, PA 17022. For informa- individual performers in New York dur- tion contact Douglas Bomberger, (717) To reserve, call Mariana Whitmer at ing the period from 1920 to 1970, with 361-1212, MacDowellSymposium@ (412) 624-3031 or e-mail: SAM@ foci on work of American Jews and etown.edu. american-music.org first-generation immigrants of all back- Conference: The 44th annual Association grounds in the creation of the Broadway for Recorded Sound Collections (ARSC) Tear sheets will be sent after publication. musical and Broadway composer Frank Conference will be held at the Chateau Loesser’s and the decade between his two Bourbon, 800 Iberville Street, New SPECIFICATIONS AND PRICES classic shows, Guy and Dolls (1950) and Orleans, Louisiana, May 19-22, 2010. How to Succeed in Business Without Really For more information about the 2010 Overall Page size: 11" x 8½" (page height x Trying conference, visit: http://www.arsc-audio. (1961). All individual paper pre- width). PDF format appreciated; images sentations are limited to 25 minutes and org/conference/. Questions regarding the should be in black/white or grayscale. discussion panels will be capped at 90 conference should be directed to Brenda minutes each. Panels should be planned Nelson-Strauss, ARSC Conference $ 125.00 Full page: 10" high x 7½" wide Manager, [email protected]. to include at least four participants and $ 75.00 Half page: 5" x 3¾" reserve at least half of the allotted time Workshop: NEH Teacher Training $ 50.00 Third page: 3½" x 7½" for audience participation. Abstracts Institute, “Dvorak and America: In $ 40.00 Quarter page: 2½" x 2¼" must be limited to 500 words, include Search of the New World,” July 12-30, the names and contact information (full 2010. Applications are currently being All prices are per single issue. A 15% name, affiliation, and postal address) of accepted, with a postmark deadline of discount will apply for ads placed in all all proposed presenters, and submitted March 2, 2010. Full-time teachers of three issues of a volume. by email, email attachment, or in hard grades 5 to 12 are eligible to apply, copy by February 15, 2010 to: L. Bailey, whether from public, parochial, charter, Porter Symposium, AMRC, University of independent, or private schools; home- Colorado at Boulder, 280 UCB, Macky schooling parents are also eligible, as are ELECTRONIC FILES 201, Boulder, CO 80309-0280, lisa.bai- librarians and school administrators and ENCOURAGED [email protected]. certain Americans teaching abroad. Up CFP: In celebration of the 150th birth- to three institute spaces are available for Submit jpg, gif, or pdf files to: day of Edward MacDowell (1860–1908), current full-time graduate students who [email protected] the Department of Fine and Performing intend to pursue careers in K-12 teaching. Arts at Elizabethtown College will host a For more information, visit: http://www. MacDowell Symposium, December 3–5, pittsburghsymphony.org/pghsymph.nsf/ 2010. The Symposium invites paper pro- web/dvorak_home.html.

The Bulletin of the Society for American Music • Vol. XXXVI, No. 1 11 SAMUEL BARBER Samuel Barber Remembered: A Centenary Tribute PETER DICKINSON Compulsively readable interviews with the great American composer and his friends and colleagues, including Aaron Copland, Virgil Thomson, and Leontyne Price.

$49.95, April 2010, 9781580463508, 10 b/w illust., 226 pp.

August Halm: A Critical and Creative Life in Music Bernarr Rainbow: Writings and Memoirs LEE A. ROTHFARB PETER DICKINSON

$85, Nov. 2009, 9781580463294, 22 b/w & 26 line illust., 320 pp. $47.95, Jun. 2010, ISBN TO COME, 20 b/w illust., 320 pp.

Of Poetry and Song: Richard Wagner and the Centrality of Love Approaches to the Nineteenth-Century Lied BARRY EMSLIE EDITED BY JÜRGEN THYM $95, Apr. 2010, 9781843835363, 320 pp. $95, Apr. 2010, 9781580460552, 75 line illust., 480 pp. Truth and Music: The Complete Busoni as Pianist Writings from Music and Musicians, 1957-85 TRANSLATED BY SVETLANA BELSKY EDITED BY MARK DORAN $75, Jan. 2010, 9781580463355, 3 b/w 76 line illust., 200 pp. TOCCATA$90, Jun. 2010, PRESS 9780907689805, 304 pp.

LUIGI DALLAPICCOLA BOHUSLAV MARTINU

The Twelve-Tone Music of Luigi Dallapiccola Martinů and the Symphony BRIAN ALEGANT MICHAEL CRUMP

$75, Jun. 2010, 9781580463256, 161 line illust., 280 pp. TOCCATA$95, Feb. 2010, PRESS 9780907689652, 9 b/w illustrat., 544 pp.

The Music of Luigi Dallapiccola Martinů’s Letters Home: Five Decades of RAYMOND FEARN Correspondence with Family and Friends EDITED BY ISA POPELKA $34.95, Feb. 2010, 9781580463478, 1 b/w & 100 line illust., 328 pp., paperback TOCCATA$80, Oct. 2010, PRESS 9780907689775, 216 pp.

Boydell & Brewer, Inc. 668 Mount Hope Avenue, Rochester, NY 14620 www.boydellandbrewer.com

12 The Bulletin of the Society for American Music • Vol. XXXVI, No. 1 Special Collection for sale

Broadway Music of the Roaring Twenties

This collection, lovingly assembled, comprises sheet music from Broadway shows, 1919 to 1929, from the end of WWI to the start of the Great Depression. Present are music folios for 237 songs from 167 musicals of the period. The variety of subjects, composers, lyricists, and stage stars represented by the decade is staggering. This collection vividly demonstrates the sea changes that swelled in American life and music during the 1920s.

We find the old-fashioned, sentimental shows by Romberg, Friml, et al. (e.g. "Student Prince in Heidelberg", "The Royal Vagabond"and "Blossom Time"), the big revues (e.g. "Earl Carroll's Vanities", "Greenwich Village Follies", "George White's Scandals", and of course various annual versions of the "Ziegfeld Follies"). Here are the star-based shows, including "Banjo Eyes" (Eddie Cantor), and "Big Boy" and "Bombo" (Al Jolson), and shows built around Fanny Brice, Sophie Tucker, George Jessel and others. Perhaps most interesting, though, are the shows by the "new" composers and lyricists, including early efforts by Cole Porter ("Hitchy Koo", 1919), Jerome Kern ("Sally", 1919, and of course, "Show Boat", 1927), George Gershwin ("Oh, Kay,” 1926, and "Strike Up the Band", 1927), the Hammerstein-less Richard Rodgers (with Lorenz Hart: "The Girl Friend", 1926, "A Connecticut Yankee in King Arthur's Court", 1927), the Rodgers-less Oscar Hammerstein (with Kern : "Showboat", 1927 and Friml: "Rose Marie", 1924), and African-American groundbreakers Eubie Blake ("Shuffle Along", 1921), and Noble Sissle/Eubie Blake ("In Bamville", 1924, later renamed "Chocolate Dandies" and still a flop since it didn't conform to the black stereotypes that audiences of the time demanded). We see also the occasional oddity, including the show "The Gay Young Bride", starring a female impersonator. Still other shows feature "the new woman" of the period--the flapper (e.g. Little Miss Vamp).

The songs from these shows, not surprisingly, run the gamut from corny to classic. Here are the well-known hits from well-known shows (e.g. Tea for Two from "No, No, Nanette"; Indian Love Call from "Rose Marie"; Ol' Man River from "Showboat"; Someone to Watch Over Me from "Oh, Kay") and the now-classic hits from now-little- known shows (e.g. April Showers from "Bombo"; You're the Cream in my Coffee from "Hold Everything"; Button Up Your Overcoat from "Follow Thru" (a show about golf!); and Moanin' Low from "The Little Show").

The eye-catching covers of these music sheets would make a stunning exhibition. Folios that don't feature photos of the singing stars, often have evocative, colorful drawings in a wide variety of then-current styles, including art deco. Modestly priced at $3500

Vintage Music Books, a division of R&A Petrilla, Booksellers, established 1970. email: [email protected] phone: 609.426.4999

The Bulletin of the Society for American Music • Vol. XXXVI, No. 1 13 index to the society of american music bulletin contents, 2008-9 Index to Volume XXXIV (2008) From the Editor (Graham, a), 2:32. Shows From Kern to Sondheim, by Scott Compiled by Laura Moore Pruett From the Editor (Leonard, a), 3:59. McMillin” (Lovensheimer, r), 1:14. From the President (Graziano, a), 1:2, 2:30, “Music Is What Happens (Part II of III)” (Tick, Personal names are identified as author or com- 3:56. a), 1:20-22. poser (a), compiler (c), editor (e), performer Graham, Sandra, a. From the Editor, 2:32. “Musicology at the Center” (Leonard, a), 1:3. (p), reviewer (r), translator (t), or subject (s); Graziano, John, a. “Henrietta Yurchenco,” 1:8. “New Directions in Church Music History,” recordings and videos are differentiated by the Graziano, John, a. Conference Report: 2:50-51. abbreviations “rec” or “vid”; numbers refer to President’s Welcome, 2:31. Norton, Kay, a. “San Antonio Conference Issue Number: Page(s). Graziano, John, a. From the President, 1:2, Update,” 1:1-2. 2:30, 3:56. “Off the Wall” (Veitch-Olson, a), 1:3. “15th Annual Sonneck Sacred Harp Singing” Graziano, John, Ron Pen, Anne Dhu McLucas, “Patricia Norwood” (Preston, a), 2:44. th (Pen, a), 2:38. Paul Wells, Phil Gentry, Ralph Locke, Pen, Ron, a. ““15 Annual Sonneck Sacred Aaslid, Vilde, a. “Student Forum – San Antonio and David Patterson, a. “SAM’s Mission Harp Singing,” 2:38. Conference Report,” 2:38-39. Statements: Rationale and Discussion,” Pillsbury, Glenn, a. “Documenting ‘A Long “Acceptance Remarks from Bill C. Malone” 2:25-28. Musical Experience’: Behind the Brubeck (Malone, a), 2:36-37. “H. Wiley Hitchcock” (Crawford, Oja, and Oral History Project,” 1:12-13. “American Band History Group Report” Tick, a), 1:6-8. Preston, Katherine K., a. “Patricia Norwood,” (Warfield, a), 2:38. Hartman, Gary, r. “Jazz Mavericks of the Lone 2:44. Awards of the Society, 1:24, 2:52, 3:68. Star State, by Dave Oliphant,” 3:64. Pruett, Laura Moore, c. Index to Volume XXIII Baur, Steven, r. “European Music and Musicians “Henrietta Yurchenco” (Graziano, a), 1:8. (2007), 1:23. in New York City, ed. by John Graziano,” “Herrman S. Saroni (ca. 1824-1901) and the Resolution on Habeas Corpus Issues, 2:43. 2:47. ‘first’ American Operetta” (Urrows, a), “Riders In The Sky Receive Honorary “Because Time was in the Air (Part III)” (Tick, 1:9-11. Membership” (Cockrell, a), 2:31, 33. a), 3:53-56. Images from the Conference, 2:40-41. “The Routledge Guide to Broadway, by Ken Bergman, Elizabeth, r. “The Conservatoire Index to Volume XXIII (2007) (Pruett, c), Bloom” (Everett, r), 1:15. Américain: A History, by Kendra Preston 1:23. “SAM’s Mission Statement: Rationale and Leonard,” 2:45-46. “Jazz Mavericks of the Lone Star State, by Dave Discussion” (Graziano, Pen, McLucas, Berrett, Joshua, r. “Making the Scene: Oliphant” (Hartman, r), 3:64. Wells, Gentry, Locke, Patterson, a), 2:25- Contemporary New York City Big Band Laird, Paul R., a. Treasurer’s Report – Calendar 28. Jazz, by Alex Stewart,” 3:62-63. Year 2007, 2:39. “San Antonio Conference Update” (Norton, “Bill C. Malone Receives 2008 Lifetime Laird, Paul R., r. “The Megamusical, by Jessical a), 1:1-2. Achievement Award from SAM” (Wells, Sternfeld,” 1:15-16. “Sounding Together While Sounding Apart a), 2:35-36. “Lee Konitz: Conversations on the Improviser’s (Part I of III)” (Tick, a), 1:18-20. Buck, Sylvia G., a. “Sue Hickok,” 3:65. Art, by Andy Hamilton” (Murphy, r), Statement of Financial Condition, Society for Bulletin Board, 1:22, 2:48, 3:66-67. 3:63-64. American Music, Year Ending December “CageTalk: Dialogues with & about John Cage, Leonard, Kendra Preson, a. “Musicology at the 31, 2007, 2:39. ed. by Peter Dickinson” (Madsen, r), 2:44- Center,” 1:3. Student Forum, 1:4, 3:61. 45. Leonard, Kendra Preston, a. From the Editor, “Student Forum – San Antonio Conference Cockrell, Dale, a. “Riders In The Sky Receive 3:59. Report” (Aaslid, a), 2:38-39. Honorary Membership,” 2:31, 33. “Leta Miller Wins Lowens Article Award,” 2:37. “Sue Hickok” (Buck, a), 3:65. Conference Announcements, 1:11, 2:42-43. Lovensheimer, Jim, r. “The Musical as Drama: “Summer in the City: ‘Voices Across Time’ Conference Calendar, 2:51, 3:67. A Study of the Principles and Conventions 2008,” 3:58. Conference Report: President’s Welcome Behind Musical Shows From Kern to Tick, Judith, a. “Because Time was in the Air (Graziano, a), 2:31. Sondheim, by Scott McMillin,” 1:14. (Part III),” 3:53-56. “The Conservatoire Américain: A History, by Madsen, Charles, r. “CageTalk: Dialogues Tick, Judith, a. “Music Is What Happens (Part Kendra Preston Leonard” (Bergman, r), with & about John Cage, ed. by Peter II of III),” 1:20-22. 2:45-46. Dickinson,” 2:44-45. Tick, Judith, a. “Sounding Together While Crawford, Richard, Carol Oja, and Judith Tick, Magee, Jeffrey, a. “Minutes of the Annual Sounding Apart (Part I of III),” 1:18-20. a. “H. Wiley Hitchcock,” 1:6-8. Business Meeting, San Antonio,” 2:33-35. “Transcriptions and Adaptations” (Elkus, a), “Do Not Go Gently Wins Gold Medal at New “Making the Scene: Contemporary New York City 1:4. York Festivals,” 2:51. Big Band Jazz, by Alex Stewart” (Berrett, Treasurer’s Report – Calendar Year 2007 (Laird, “Documenting ‘A Long Musical Experience’: r), 3:62-63. a), 2:39. Behind the Brubeck Oral History Project” Malone, Bill C. “Acceptance Remarks from Bill Urrows, David Francis, a. “Herrman S. Saroni (Pillsbury, a), 1:12-13. C. Malone), 2:36-37. (ca. 1824-1901) and the ‘first’ American Elkus, Jonathan, a. “Transcriptions and “Mark Tucker Award 2008 to Loren Y. Operetta,” 1:9-11. Adaptations,” 1:4. Kajikawa,” 2:37. Veitch-Olson, Jenni, a. “Off the Wall,” 1:3. “European Music and Musicians in New York “The Megamusical, by Jessica Sternfeld” (Laird, Warfield, Patrick, a. “American Band History City, ed. by John Graziano” (Baur, r), r), 1:15-16. Group Report,” 2:38. 2:47. “Meet JSAM’s New Editor,” 2:29-30. Wells, Paul, a. “Bill C. Malone Receives 2008 Everett, William A., r. “The Routledge Guide to “Minutes of the Annual Business Meeting, San Lifetime Achievement Award from SAM,” Broadway, by Ken Bloom,” 1:15. Antonio” (Magee, a), 2:33-35. 2:35-36. “Excitement Builds in Denver for 2009 SAM Murphy, John, r. “Lee Konitz: Conversations on Wells, Paul, a. “Father Along”: A Conference Conference” (Worster, a), 3:60. the Improviser’s Art, by Andy Hamilton,” on the Southern Gospel Convention- “Farther Along”: A Conference on the Southern 3:63-64. Singing Tradition, 2:49-50. Gospel Convention-Singing Tradition “The Musical as Drama: A Study of the “Wiley Housewright Dissertation Award to (Wells, a), 2:49-50. Principles and Conventions Behind Musical Drew Davies,” 2:37.

14 The Bulletin of the Society for American Music • Vol. XXXVI, No. 1 index to the society of american music bulletin contents, 2008-9

Worster, Larry, a. “Excitement Builds in Denver Boyer,” 3:42-43. 2:27, 29. for 2009 SAM Conference,” 3:60. Graziano, John, a. From the President, 1:4. Rice, Harry, a. “Berea College Appalachian “Yale University Library Announces Grant “The Hayloft Gang: The Story of the National Sound Archives Fellowships 2010,” 2:29. from Andrew W. Mellon Foundation to Barn Dance, ed. by Chad Berry” (Cohen, Riis, Tom, a. From the President, 2:21, 3:39. Support Oral History American Music r), 1:7, 9. “SAM Members Win Big at 2008 ARSC Project,” 3:59. Hess, Carol A., a. “Society for American Music Awards,” 1:6. Annual Business Meeting Report,” 2:24- Shadle, Doug, and Monica Ambalal, a. Index to Volume XXXV (2009) 25. “Student Forum: Getting Ready for Compiled by Laura Moore Pruett Hiam, Jonathan, a. “Report on American Ottawa,” 3:41. Music from the Music Library Association Shadle, Douglas, a. “Sudent Forum: Silent Personal names are identified as author or com- Meeting,” 2:19-20. Auction Report from Denver,” 2:20. poser (a), compiler (c), editor (e), performer “Horace Clarence Boyer” (Gibson, a), 3:42-43. “Society for American Music Annual Business (p), reviewer (r), translator (t), or subject (s); Images from the Conference, 2:22-23. Meeting Report” (Hess, a), 2:24-25. recordings and videos are differentiated by the Kehrberg, Kevin, a. “Researching Southern Sonenberg, Daniel, r. “The Music of Joni abbreviations “rec” or “vid”; numbers refer to Gospel Music in Kentucky and Mitchell, by Lloyd Whitesell,” 3:45-46. Issue Number: Page(s). Tennessee,” 2:17-18. Student Forum (Aaslid and Shadle, a), 1:4. Koegel, John, a. “A Note from the 2009 “Student Forum: Getting Ready for Ottawa” Aaslid, Vilde, and Doug Shadle, a. Student Program Chair), 2:19. (Shadle and Ambalal, a), 3:41. Forum, 1:4. Koegel, John, and Larry Worster, a. “Denver “Student Forum: Silent Auction Report from “Adrienne Fried Block” (Tick, a), 2:26-27. Update,” 1:1, 3. Denver” (Shadle, a), 2:20. “American Topics at the Conference on 19th- Leonard, Kendra Preston, a. From the Editor, Tick, Judith, a. “Adrienne Fried Block,” 2:26- Century Music, University of Kansas, July 1:6. 27. 2009” (Freeman, a), 3:45. “Looking Ahead to Ottawa 2010” (Deaville, a), Vinson, Duncan, r. “Beyond Exoticism: Western “Announcing the Adrienne Fried Block 3:38-39. Music and the World, by Timothy Taylor,” Fellowship,” 3:41. Marchand, Rebecca, r. “Eagle Minds: Selected 3:49-50. Awards of the Society, 1:16, 2:36, 3:56. Correspondence of Istvan Anhalt & George Wells, Paul, a. “Mike Seeger,” 3:44. “Berea College Appalachian Sound Archives Rochberg, 1961-2005, ed. by Alan Whitmer, Mariana, a. From the Executive Fellowships 2010” (Rice, a), 2:29. Gillmore,” 1:9-10. Director, 1:3. “Beyond Exoticism: Western Music and the World, “Mark Tucker Award for Outstanding Whitmer, Mariana, r. “Brass Diva: The Legend by Timothy Taylor” (Vinson, r), 3:49-50. Conference Paper [to Christine Fena],” and Lives of Ethel Merman, by Caryl Flinn, “Brass Diva: The Legend and Lives of Ethel 2:19. and Fred & Ethel: Great Songs of Astaire & Merman, by Caryl Flinn, and Fred & Mather, Olivia Carter, r. “The Never-Ending Merman, by Benjamin Sears,” 1:10-11. Ethel: Great Songs of Astaire & Merman, by Revival: Rounder Records and the Folk “Wilfrid Mellers” (Dickinson, a), 3:43-44. Benjamin Sears” (Whitmer, r), 1:10-11. Alliance, by Michael F. Scully,” 2:30-31. Bulletin Board, 1:12, 2:34, 3:51. “Mike Seeger” (Wells, a), 3:44. Carlin, Richard, r. “Prophet Singer: The Voice “Music and Urban Geography, by Adam Krims” and Vision of Woody Guthrie, by Mark (Pelkey, r), 2:31-32. Allan Jackson,” 3:48. “The Music of Joni Mitchell, by Lloyd Whitesell” “The Center for American Music Receives (Sonenberg, r), 3:45-46. National Leadership Grant,” 1:6. “NEH Summer Institute for Teachers on Cohen, Ronald D., r. “The Hayloft Gang: The ‘Dvořák and America,’” 3:39-40. Story of the National Barn Dance, ed. by “The Never-Ending Revival: Rounder Records and Chad Berry,” 1:7, 9. the Folk Alliance, by Michael F. Scully” “Comprehensive Web Site Launched for the (Mather, r), 2:30-31. Monterey Jazz Festival Collection,” 3:40. “New Format Added for the Conference in Conference Calendar, 1:13-14, 2:29-30, 3:52. Ottawa, 2010,” 1:7. “The Current State of Canadian Music Studies” “A Note from the 2009 Program Chair” (Elliott, a), 3:37-38. (Koegel, a), 2:19. Deaville, James, a. “Looking Ahead to Ottawa Pelkey, Stanley, r. “Music and Urban Geography, 2010,” 3:38-39. by Adam Krims,” 2:31-32. “Denver Update” (Koegel and Worster, a), 1:1, Price, Charles Gower, r. “Ramblin’ on My Mind: 3. New Perspectives on the Blues, ed. by David Dickinson, Peter, a. “Wilfrid Mellers,” 3:43-44. Evans,” 2:32-33. “Eagle Minds: Selected Correspondence of Istvan “Prophet Singer: The Voice and Vision of Woody Anhalt & George Rochberg, 1961-2005, ed. Guthrie, by Mark Allan Jackson” (Carlin, by Alan Gillmore” (Marchand, r), 1:9-10. r), 3:48. Elliott, Robin, a. “The Current State of “Ramblin’ on My Mind: New Perspectives on Canadian Music Studies,” 3:37-38. the Blues, ed. by David Evans” (Price, r), Freeman, Charles S., a. “American Topics at 2:32-33. the Conference on 19th-Century Music, “Report on American Music from the Music University of Kansas, July 2009,” 3:45. Library Association Meeting” (Hiam, a), From the Editor (Leonard, a), 1:6. 2:19-20. From the Executive Director (Whitmer, a), 1:3. “Researching Southern Gospel Music in From the President (Graziano, a), 1:4. Kentucky and Tennessee” (Kehrberg, a), From the President (Riis, a), 2:21, 3:39. 2:17-18. Gibson, Joice Waterhouse, a. “Horace Clarence “Resources of American Music History 2,”

The Bulletin of the Society for American Music • Vol. XXXVI, No. 1 15 T h e B u l l e t i n o f t h e Nonprofit org. S o c i e t y f o r A m e r i c a n M u s i c U.S. Postage PAID Society for American Music Pittsburgh, PA Stephen Foster Memorial Permit No. 5636 University of Pittsburgh 4301 Forbes Ave. Pittsburgh, PA 15260

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awards of the society

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

16 The Bulletin of the Society for American Music • Vol. XXXVI, No. 1