Gershwin to Gillespie: Portraits in American Music
SAM member and noted musicologist The Bulletin Olivia Mattis has curated a salute to 20th- century American music called Gershwin 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 to Gillespie: Portraits in American Music, which recently ended a three-month exhi- 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 bition at the George Eastman House in Rochester, New York, and is now avail- Vol. XXXI, No. 3 Fall 2005 able for touring. This exhibition offers glimpses into the lives and personalities of the greatest American musicians and com- Standpoint: posers, as captured by some of America’s What Happened to the Nineteenth Century? most influential photographers, includ- ing Ansel Adams and Annie Leibovitz. — Katherine K. Preston The College of William & Mary Among those depicted in the 50 featured photographs are George Gershwin, Dizzy Editor’s Note: This issue of the Bulletin inaugurates a new feature, “Standpoint,” which will appear every Gillespie, Leonard Bernstein, Lukas Foss, Fall. Standpoint is an opinion essay that will, it is hoped, provoke discussion, reflection, and even some John Philip Sousa, Billie Holiday, John controversy. The Winter issue will feature “Counterpoint,” an essay or group of short responses to the Coltrane, Jim Morrison, Janis Joplin, and previous Standpoint essay. If you would like to write a Counterpoint for the next issue, please e-mail Sandra Graham
42 The Bulletin of the Society for American Music • Vol. XXXI, No. 3 Fry were written by William Treat Upton library. The reality is that we do not featuring standard repertory as well as less in 1939 and 1954, respectively; there really know how influential Dwight was, frequently performed works. Included in has never been a biography of George because no one has examined his Journal the recordings are a number of world-pre- Bristow. On the popular-music side, there in the context of other music periodicals miere performances of works by American are dissertations – but no recent books of the time. There are dozens – nay, scores composers Walter Piston, Roger Sessions, – on the work and influence of George – of other important topics that are waiting Samuel Barber, David Diamond, and Roy Root, John Hill Hewitt, and James Bland; to be tackled by eager young scholars. Harris. no one has examined the life and music of There are archival collections that are As music director during this Henry Clay Work. A study of the Seguin essentially low-hanging fruit, if only period, Eugene Ormandy appears most family is crying out to be done, as is an graduate students could be encouraged to frequently as conductor, but the record- examination of the very influential career seek them out. ings also include programs conducted of the operatic impresario Max Maretzek. It is wonderful that we have broad- by Ormandy's predecessor, Leopold A biography of Anna Bishop has recently ened our scholarly horizons, and that Stokowski, his successors, Riccardo Muti been published, but it is not a scholarly musicologists are tackling so many and Wolfgang Sawallisch, as well as Otto work. There have been no studies (to my diverse and interesting twentieth-century Klemperer, Georg Solti, Seiji Ozawa, knowledge) of musical management – a topics. Much of this work is also impor- Claudio Abbado, James Levine, and subject that is ripe for research and that tant. But to continue to ignore the history other noted guest conductors. Featured would reveal a great deal about reception of American music in the 19th century is soloists include the foremost performers of music in the nineteenth century. Studies intellectually dangerous. This scholarship of the day and a number of Philadelphia of music institutions (orchestras, singing is extremely important, and in 2005 there Orchestra first-chair players. Many of the societies, concert series, opera houses) simply are not enough 19th-century schol- recordings include interviews with con- are few and far between; information ars to do it. We need help. The Society ductors and soloists that were originally about the role of music in education in the needs to create a buzz around the study broadcast as intermission features. 19th century is almost nonexistent. There of our musical past. In the end, we – the The original tape recordings have are many dissertations about the history established scholars of American music been transferred to archival compact of music in various regions or cities, but – must encourage our younger colleagues discs, and the master copies are preserved we need many more; in reality we know to explore some of these projects, in order in the library’s offsite storage facility. more about music in the Loire Valley in to redirect some of the energy within Copies for use by researchers augment the 14th century than about any area of the the discipline toward this hard, but truly other primary sources, such as the per- United States. We furthermore know little important, work. This is crucial, I believe, sonal papers of Eugene Ormandy, donated about what people actually heard when for the future of our discipline. to the University of Pennsylvania Library they attended theatrical performances, by Ormandy's widow in 1987. Together despite the fact that there are thousands with the marked scores in the Ormandy of conductors’ scores, prompt books, Collection, the recordings provide a body and orchestral parts for operas and other of primary source material of interest to musical theatrical works in the Tams- researchers studying 20th-century orches- Witmark Collection at the University of tral performance practice. Wisconsin, waiting for scholars’ attention. University of The collection is currently being And there have been very few studies of Pennsylvania Library cataloged on RLIN, the union catalogue 19th-century musical journalism or music Preserves Philadelphia of the Research Libraries Group, and will criticism. Dwight’s Journal of Music had a be accessible as well through the Penn 30-year run (1852–81), but its circulation Orchestra Recordings Library catalogue. Upon completion of the was miniscule and its influence certainly cataloging in fall 2005, the recordings will paled in comparison with its competitors, The University of Pennsylvania be available for listening in the Rare Book such as The Message Bird / Saroni’s Library is pleased to announce the and Manuscript Library in the Van Pelt- Musical Times (1851–73), Watson’s completion of a project to preserve 532 Dietrich Library Center at the University Weekly Art Journal (1864–1905), and tape recordings of Philadelphia Orchestra of Pennsylvania. For more information on Brainard’s Musical World (1864–95). But concerts broadcast on Philadelphia radio the Rare Book and Manuscript Library and in contrast with Dwight’s Journal (which station WFLN-FM between February its holdings, visit the library's website at everyone knows and cites repeatedly), 1960 and April 1977. The original http://www.library.upenn.edu/collections/ there are studies of none of these other broadcast recordings were donated to the rbm/, or contact Nancy Shawcross, cura- periodicals. The resulting “collective University Library by the Philadelphia tor of manuscripts. knowledge” that John Sullivan Dwight Orchestra and WFLN in 1987, and the was profoundly influential in 19th-century preservation project was funded in part America, I would suggest, is much less by a $40,000 grant awarded in 2004 by indebted to scholarly research than to the the GRAMMY Foundation. fact that a hardbound copy of the Journal The collection documents eighteen is conveniently located in your college seasons of the orchestra’s programming,
The Bulletin of the Society for American Music • Vol. XXXI, No. 3 43 B o o k R e v i e w
Tom Ashley, Sam McGee, Bukka in the singer’s words, from Ashley’s visit music, and a chronology. They initial- White: Tennessee Traditional Singers. to East Tennessee State University’s Folk ly set out to establish Memphis’s right- Edited by Thomas G. Burton. Knoxville: Festival in 1966. Throughout, there are ful place in blues history, though the University of Tennessee Press, 2005. 240 others from his son and daughter, from form originated elsewhere in the Delta pages. $22.50. fellow musician and lifelong friend Roy region. Luminaries such as Charlie Patton, Acuff, and from Doc Watson, with whom Son House, John Hurt, Walter “Furry” The University of Tennessee Press he also played. These vignettes contribute Lewis, and, of course, W.C. Handy are is re-issuing, in paperback, a book that significantly to fleshing out the “real- all anchors in the Bluff City’s reputa- has been out of print since 1981. Thomas ity” of this portrait. Manning and Miller tion as an important center of the genre. Burton – artfully editing essays by have embellished their section with seven Like Ashley and McGee, White was by Ambrose N. Manning and Minnie Miller, photos, six songs with lyrics and musical no means only a musician. His occupa- Charles K. Wolfe, and F. Jack Hurley and notation, and a brief chronology listing tions led him many places. He farmed, David Evans – has put together a volume the highlights of Ashley’s career – begin- played music, went “hoboing,” fought that should be valuable to students of ning with his joining Doc White Cloud’s 20 professional boxing matches, and American musicology, and specifically Medicine Show at age 16, and ending with even did a stint in Mississippi’s infamous to those interested in music of the Mid- his performance at ETSU a year before he Parchman prison, where he taught his South. The three essays, along with the died. captain’s son to play guitar. White settled introduction and conclusion, set forth the Second in the trilogy is Charles permanently in Memphis in 1942, and scope of the musical heritage and styles Wolfe’s piece, which begins with a 1975 the essay recounts at length his tutelary that have intertwined to create the unique story about Sam McGee, then an eighty- relationship with his young cousin Riley lives and careers of Tom Ashley, Sam year-old established artist in the Grand “B.B.” King. It was apparently the 1960s McGee, and Bukka White, representing Ole Opry. It tells of the journey he made folk revival that kept White from fad- East Tennessee’s Anglo-American tradi- that year to the Tennessee Valley Old Time ing into obscurity, and two West Coast tion, Middle Tennessee’s country music Fiddlers Association at Athens College in students “rediscovered” him and hauled tradition, and West Tennessee’s African- Alabama. The story recounts McGee’s him out to Berkeley, where he launched a American tradition, respectively. The reception and subsequent performance at year-long tour of the California academic editor’s style transcends the expected the festival. In the huge crowd attending folk scene. Having been born in obscu- ordinary exposition, as illustrated in the was none other than Governor George rity near Houston, Mississippi, Booker T. presentation of his purpose: “Every man Wallace, who was asked to say a few Washington White’s immortal blues tunes is complex and in each of the three pre- words on stage. Wolfe goes on to tran- like “Parchman Farm Blues” and “Fixin sented here ‘there is much music, excel- scribe several of McGee’s tales detailing To Die” have firmly established him as a lent voice,’ and we do not pretend to the three primary influences of his musi- giant of his craft and a worthy member of ‘pluck out the heart’ of his mystery. What cal style: traditional fiddle and banjo, this triumvirate of Tennessee traditional we do attempt . . . is to reflect images of Negro blues and dance music, and piano singers. lives rather than lives; images only of music. The author asserts that “eclecti- In the conclusion, to summarize individuals . . . with interesting careers, cism,” including a repertory of comedy the lives of these three legends, Burton and not images of personified abstractions songs, “had always been one of McGee’s employs a poetic image in which he of traditional singers of Tennessee” (7, 8). hallmarks” (125). At first hesitant to invites the reader to “muse” that each The selected bibliographies on each man, become part of the folk revival beginning of these three men “was given the same fourteen pages of discographies, an index in the 1950s, McGee and his brother Kirk stage directions” (205) – each instructed of song titles, and a general index all eventually played at several of its nation- to accept his fading place in music history contribute to the usefulness of this study ally important venues: the University of with dignity and humility, then “recede to students and scholars. If the Soothsayer Chicago, University of Oklahoma, and the into the wings, since you have become in Julius Caesar “could not find a heart,” American Folklife Festival in Washington, somewhat anachronistic; but come for- Burton and the writers of the essays have DC. Similar to the other essays, Wolfe’s ward when an audience cries out for an certainly tried to do so in this volume. contains twelve pictures, six songs with encore and a spotlight is focused on you. In the first essay, on Tom Ashley, music, as well as a chronology of his life. Bow; then exit” (206). This book is just Ambrose Manning and Minnie Miller Paralleling in style and approach such an encore and a spotlight – one that begin this search and reveal a fascinat- the first two sections of the book, F. Jack applauds and illuminates the lives of ing artist’s life – a life that went way Hurley and David Evans employ lengthy three distinguished pioneers who have beyond music – from his mining coal to redactions from taped interviews in Bukka preserved, perpetuated, and enriched the his working in sawmills. To begin, the White’s Delta dialect. The authors include musical heritage of Tennessee. authors include two insightful anecdotes, nine photographs, seven songs with – Michael Davenport
44 The Bulletin of the Society for American Music • Vol. XXXI, No. 3 William Busch – A British Composer in America
– Julia Busch, March 2005
Editor’s Note: The following article on Busch’s but William was secretly engaged to a years in America was composed by Busch’s young violinist named Sylvia Lent, a pupil daughter, Julia Busch, based on her father’s of Leopold Auer. He managed to persuade diary entries, and submitted by SAM member his father that he had to return to America Philip Machin. Busch was briefly, and secret- and sailed back on the SS Rotterdam of ly, engaged to the American violinist Sylvia Lent, who may have subsequently married an the Holland-America Line. American music critic. If any readers have In 1921 he continued his piano tuition more information about Lent, please contact with Woodmansee and Lilienthal, and Philip Machin at [email protected]. attended as many concerts as he could. Lilienthal told William that he had a tal- William Busch first arrived in ent for composition – a seed that grew America in May 1915 at the tender age slowly into a flower. But his father, who of 14. He was enrolled at the Riverdale had misgivings about how much work School in New York until he transferred William accomplished away from paren- WILLIAM BUSCH, ca. 1930 to Columbia Grammar School in October tal guidance, insisted that he come back to Courtesy of Julia Busch 1918, where he studied academic subjects England. So on June 9, 1921, Busch had in the morning and practiced piano in the his final harmony lesson with Lilienthal, afternoon. His piano tutor at that time was who said he would write to his parents and Mr. France Woodmansee. His aim was to tell them he had been “satisfactory.” After Mr. Copley, his American manager, hoped be a concert pianist, much against the will saying goodbye to all his friends, he sailed to do another tour the following year, but of his father, who wanted him to join the back to England on the SS Carpania and this did not materialize. family business. His mother had a more arrived at Liverpool on June 24, a day Busch had begun composition studies artistic nature and could empathize with before his twentieth birthday. with Alan Bush in 1926, followed by John William's desire; he finally got permission William was then sent to Berlin, Ireland and finally Bernard Van Dieren in to “go into music” in April 1918. where he studied piano with Leonid 1932, with whom he studied for a year Busch and Woodmansee took an Kreutzer and, upon Kreutzer’s recommen- before deciding to strike out on his own. apartment at 600 West 144th Street over- dation, composition with Dr. Liechentritt. He broadcast on the BBC and was the looking the river, where they stayed until Under Leichentritt’s tutelage William resident pianist for the South Place Ethical William first went back to England on began writing short piano pieces, fugues, Society in London. Although he continued June 16, 1919, on the SS Adriatic of the and etudes, exclaiming in his diary, “have working as a pianist, he began to realize White Star Line. He came back on the finished my very grand etude, but can't that his temperament was not suited to SS Mauritania, arriving in New York on play it for nuts!” He wrote his first song such work, since he suffered greatly with November 25, 1919, where he resumed that year, for his Aunt Marie on her silver nerves. his piano tuition with Woodmansee, or wedding day. He left Berlin in May 1924. He wrote Rest in December 1933 Woody, as he was affectionately called. In London he started piano tuition and dedicated it to Sheila, his wife to be, He practiced on a Steinway piano belong- under Benno Moisewitsch and Mabel but it was not until about 1935, after his ing to a Mr. Gaestner, who lived “in a very Lander. Composition took a back burner marriage, that he wrote most of his songs. nice house on 101st street.” In January of except for a few little songs that have now Sinclair Logan, Henry Cummings, Dame the following year he began harmony les- been lost. In 1926 he traveled back to Janet Baker, and Peter Pears all admired sons with Mr. A.W. Lilienthal, who was America to visit friends, and on the return and sang his songs. a former member of the Philharmonia trip to England on the SS Leviathan he Orchestra. Busch says in his diary, “He met a Miss Bennett, who was head of the seems very nice and very thorough and I piano department at Oklahoma Women's expect to work really well at it.” He took College. She had heard him play the another trip to England in May to see the Rameau Variations and Scarlatti’s Pastoral family, again on the SS Adriatic, hoping in the ship’s lounge, which resulted in a that he could return and continue his stud- piano tour of Oklahoma colleges in ies with Woodmansee and Lilienthal. His Tahlequah, Chickasha, and Stillwater. His father was beginning to wonder why he first recital in New York Town Hall, on couldn’t continue his studies in England, February 26, 1930, received good reviews.
The Bulletin of the Society for American Music • Vol. XXXI, No. 3 45 Library of Congress daylong teacher institutes for local K–12 chamber music of the 20th century," said Launches educators. Invited teachers will learn how Hampson. to access the Library’s unique collections, Hampson is a passionate singer “Song of America” analyze documents to encourage critical of the music of America by such poets Concert Tour thinking skills, and generate lesson ideas and composers as Stephen Foster, related to various facets of the Library’s Walt Whitman, and Aaron Copland. – Stephanie Poxon collections. His dedication to American song has Library of Congress, Music Division "The richness of the Library’s music led to several recital tours, recordings, collections lies not only in the coverage multimedia projects, and television Librarian of Congress James H. of American concert, popular, ethnic and programs. Billington announced today that the folk music but also in the wealth of Library of Congress is launching a European concert music, opera scores and multidimensional program to celebrate librettos, as well as the symphonic and "Creativity across America," which continued on page 47 will begin in November with a 12-city, seven-month concert tour featuring internationally acclaimed baritone The Society for American Music Thomas Hampson, one of the most The Society for American Music promotes research, educational projects, and the dissemination of infor- popular and sought-after singers of mation concerning all subjects and periods embraced by the field of music in American life. Individual and institutional members receive the quarterly journal American Music, the Bulletin, and the annotated this generation. Hampson, a native of Membership Directory. Direct all inquiries to The Society for American Music, Stephen Foster Memorial, Spokane, Washington, is renowned for University of Pittsburgh, Pittsburgh, PA 15260; (412) 624-3031; [email protected]. his versatility, imagination, and vocal Officers of the Society charisma. President...... Michael Broyles "The ‘Song of America’ tour with Past President ...... Carol Oja Tom Hampson is part of an unprecedent- Vice President...... Judith Tick Secretary...... R. Allen Lott ed national program that the Library of Treasurer...... Paul Laird Congress is initiating to celebrate cre- Members-at-large...... Susan Key, Gayle Murchison, Kay Norton, Vivian Perlis, ativity across America," said Billington. Wayne Shirley, Larry Starr "America is a wellspring of new ideas Editor, American Music...... David Nicholls in music, literature, poetry, film, and Editor, SAM Website...... Larry Worster Executive Director...... Mariana Whitmer other forms of artistic expression. As the home of the Copyright Office of the United States, the Library of Congress Standing Committee Chairs: Finance: Paul Laird; Long-Range Planning: Carol Oja; Development: Deane Root; Honors and Awards: has been the repository and mint record of Paul Machlin; 2004 Lowens Award (Book): Susan Cook; 2004 Lowens Award (Article): Ron Radano; American creativity since 1870. We want Housewright Dissertation 2004: Diana Hallman; Mark Tucker Award: Jeffrey Magee; Membership: to celebrate the energy and inventive spirit Karen Bryan; Conference Site Selection: Ron Pen; Nominating: Larry Worster; Public Relations: Felicia that is such an integral part of our cultural Miyakawa; Book Publications Subvention (Johnson Bequest): James Deaville; Silent Auction: Dianna history, and I cannot think of a more quali- Eiland; Publications: Carol Oja; Cultural Diversity: Josephine Wright fied and accomplished ambassador for the Appointments and Ad Hoc Committees: ACLS Delegate: Dale Cockrell; Archivist: Susan Koutsky; Committee on Publication of American first part of our initiative than Tom." Music: Judith McCulloh; SAM History Project, Denise Von Glahn; US-RILM Representative: Denise Hampson’s long-standing collabora- Von Glahn; Registered Agent for the District of Columbia: Cyrilla Barr tion with the Library of Congress grew Interest Groups: out of a vision shared with Billington American Band History: Susan Koutsky; American Music in American Schools and Colleges: Christine – to honor the history and preserva- de Catanzaro and James V. Worman; Folk and Traditional Music: Ron Pen; Gay/Lesbian/Bisexual/ tion of American song and to reveal to Transgendered: David Patterson; Gospel and Church Music: Roxanne Reed; Historiography: Michael new audiences the breadth and depth of Pisani; Music of Latin America and the Caribbean: Paul Laird; Musical Biography: Stuart Feder; Musical Theatre: Anna Wheeler Gentry; Popular Music: Kirsten Stauffer Todd, Philip A. Todd; Research on the Library’s unparalleled collections of Gender and American Music: Liane Curtis; Research Resources: Alisa Rata; Early American Music: musical scores and recordings. One of Nicholas Butler; 20th Century Music: David Patterson the goals of the project is to reach out to young people, who may not be so famil- Electronic Resources Listserv: [email protected] iar with the great depth and variety of Website: http://www.american-music.org American song and story, and each stop on the concert tour will include an educa- Annual Conferences tional component in which Hampson will 32nd Annual Conference, Chicago, Illinois interact with students. Naomi André, Program Committee Chair Mariana Whitmer, Local Arrangements Chair Additionally, the Library will send its educational outreach staff to each concert November is AMERICAN MUSIC MONTH city, and the Music Division will conduct
46 The Bulletin of the Society for American Music • Vol. XXXI, No. 3 “Song of America” Concert tour dates: S t u d e n t F o ru m Conference Update: Chicago copies of any accompanying audio or 2005 It is hard to believe that, as we visual material, postmarked no later than Nov. 12 – Yardley Hall, Carlsen approach the start of another academic December 3, 2005, to: Center, Johnson Country Community year, it has been more than six months since Jeffrey Magee College, Overland Park, KS our Eugene meeting and that our 2006 School of Music Nov. 15 – Founders Concert Theater, conference is just around the corner. To Indiana University Bass Hall, Fort Worth, TX help you prepare for your trip to Chicago, Bloomington, IN 47405 your Student Forum co-chairs, Travis Electronic submissions will not be accept- Stimeling ([email protected]) and ed. For more information, please contact 2006 Ryan Bañagale ([email protected]. Jeffrey Magee at [email protected]. Jan. 8 – Verizon Hall, Kimmel Center edu) would like to provide you with the for the Performing Arts, Philadelphia, following information. Student Travel Endowment PA Through the Student Travel Jan. 17 – Main Hall, Ordway Center Mark Tucker Award for Outstanding Endowment, which is supported by the for the Performing Arts, St. Paul, MN Student Conference Paper generous donations of the Society’s mem- Jan. 19 – Isaac Stern Auditorium, Mark Tucker, Vice-President of the bers and the proceeds of the annual Silent Carnegie Hall, New York, NY Society for American Music at the time Auction, students may receive finan- March 15 – Orchestra Hall, Detroit, MI of his death in December 2000, is known cial assistance to help defray the cost of March 19 – Alexander W. Dreyfoos Jr. to most SAM members as a leading jazz attending the national conference of the Hall, Kravis Center, West Palm Beach, scholar. His Ellington: The Early Years Society for American Music. Students FL and The Duke Ellington Reader are receiving funds must be members of March 21 – Main Hall, Gertrude C. landmarks in Ellington scholarship and the Society and enrolled at a college or Ford Center for the Performing Arts, models of musical biography. But Mark university (with the exception of doc- Univ. of Mississippi, Oxford was deeply interested in many aspects of toral students, who need not be formally May 28 – Orchestra Hall, Chicago, IL American music besides jazz. He wrote enrolled). The endowment will support as May 30 – Holland Performing Arts papers, participated in performances, many applicants as possible according to Center, Omaha, NE and published pieces dealing with topics the amount of money available in a given June 3 – Fox California Theatre, San as diverse as Charles Ives’s love of the year. Jose, CA Adirondacks; 19th-century parlor song; Financial assistance can be applied to TBA – Ellie Caulkins Opera House, the compositions of Alec Wilder; the transportation costs (the least expensive Denver, CO musical plays of Braham, Harrigan, and round-trip airfare available, round-trip Hart; and hip hop. train fare, or mileage at standard IRS- The "Song of America" has been Recognizing his gift for nurturing allowed rates for personal travel (half made possible by friends of the Library and inspiring his own students and the of business rate) plus gas costs and tolls of Congress and members of its pri- high value he placed on skillful and com- for automobile travel. It does not cover vate advisory group, the James Madison municative scholarly writing, and wishing parking, car rental, or local transportation. Council. For further information, please to honor his memory, the Board of the Applications must be submitted by 15 visit www.loc.gov/creativity/hampson. Society for American Music established December 2005 to: the Mark Tucker Award, to be presented at Student Travel Fund the Business Meeting of the annual SAM Society for American Music conference to a student who has written Stephen Foster Memorial an outstanding paper for delivery at that University of Pittsburgh conference. The recipient of the award, Pittsburgh, PA 15260 which consists of a modest cash prize and Awards will be announced on or before 1 a more significant amount of recognition, January 2006. will be decided before the conference by a committee appointed annually. This year's Roommate Search committee is comprised of Jeffrey Magee Travel to SAM meetings can strain (chair), Lisa Barg, Nym Cooke, and Ellie your limited student budget, so we offer Hisama. a roommate search service to help defray Students who will be presenting lodging costs. If you need a roommate papers at the Chicago conference and for Chicago, please e-mail Travis at who wish to compete for the 2006 Mark [email protected]. Tucker Award should send four copies We look forward to seeing you in of the conference paper, along with four Chicago!
The Bulletin of the Society for American Music • Vol. XXXI, No. 3 47 Some Recent Articles and Reviews
Compiled By Joice Waterhouse Gibson, University of Colorado at Boulder
AMERICAN MUSIC RESEARCH “Buried Treasure: A Set of Presentation Richard Traubner, “Broadway: ‘Fiddler,’ CENTER JOURNAL Minstrel Bones,” 8; Carole Bryant, “The and Other Lessons from the Past,” 27. (14/2004): Susan C. Cook, “Lost in Yankee Brass Band Discourses Sweet Translation: American Sounds and British Music,” 11. AMERICAN STRING TEACHER Sensibilities,” 1; Julia Chybowski, “The (May 04): Paul Anastasio, “The Music of ‘Black Swan’ in England: Abolition THE AMERICAN ORGANIST Mexico’s Tierra Caliente: A Renaissance,” and the Reception of Elizabeth Taylor (Feb 03): Sebastian M. Glück, “New 64. Greenfield,” 7; Katie J. Graber, “‘A Music, Sacred and Serious: American Strange, Weird Effect’: The Fisk Jubilee Composers Forum’s Faith Partners ANNUAL REVIEW OF JAZZ Singers in the United States and England,” Program to Premiere New Religious Music STUDIES 27; Ryan Ross, “‘They Dance No in New York City,” 61; Robert R. Ebert, (10/1999): Mark Haywood, Sarabande’: Constant Lambert, ‘The Rio “The Pipe Organ Industry in the United “‘Monkishness’: A Sonnet Sequence,” 1; Grande,’ and the American Exotic,” 53; States and Canada,” 98. (Apr 03): Rev. David Rife, “Jazz Fiction: A Bibliographic Jenni Veitch Olson, “‘We Go Together’: of Paul S. Larson, An American Musical Overview,” 17; Paul Rinzer, “The Quartal Nostalgia, Gender, Class, and the London Dynasty: A Biography of the Wolle Family and Pentatonic Harmony of McCoy Reception of Grease: A New ’50s Rock of Bethlehem, Pennsylvania, 86. (Jun 03): Tyner,” 35; Michele Caniato, “From ’n’ Roll Musical,” 77; rev. of Yayoi Uno Bynum Petty, “An Audacious Red Print Popular Song to Jazz Composition: Everett and Frederick Lau, Locating East Tie: A Tribute to Daniel Pinkham,” 35; Thelonious Monk’s ‘Ruby, My Dear,’” Asia in Western Art Music, by Jay Keister, Marilyn Biery, “The Organ and Choral 89; Clifford Korman, “‘Criss Cross’: 93; letter from Judith Anne Still [daughter Music of James Hopkins,” 56. (Jul 03): Motivic Construction in Composition and of William Grant Still], 97. “The Last Page: The First Phonograph Improvisation,” 103; Dan Morgenstern, Recording of an American Organ Work,” “The Armstrong I Knew,” 127; “Louis AMERICAN MUSIC TEACHER 80. (Nov 03): George Boziwick, “The Armstrong: A Centennial Photo Gallery,” (Feb-Mar 03): “New Center for Tangible Moment: A Profile of Composer 134; Brian Priestley, “The ‘Stardust’ American Music,” 9. (Apr-May 03): Frank Retzel,” 54; Joe Utterback, “The File,” 151; Barry Kenny, “Structure in Rick Robertson, “88s on 78s: Pianists on African American Spiritual,” 69. (Jan 04): Jazz Improvisation: A Formulaic Analysis Record from 1903 to 1925,” 30. (Aug- Rev. of Dennis G. Waring, Manufacturing of the Improvisations of Bill Evans,” 163; Sep 04): Scott McBride Smith, “The the Muse: Estey Organs & Consumer Tim Dean-Lewis, “Treading the Board – A Time Is Right: A Syllabus Assessment Culture in Victorian America, by Rollin Pedal Play: The Artistry of Jimmy Smith Program for the U.S.,” 24. (Dec 04-Jan Smith, 89. (Feb 04): Ralph B. Hastings, in Performance,” 195; Kwatei Jones 05): Victor Labenske, “An Interview with “Extant Organs E. & G.G. Hook & Quartey, “‘Parker’s Mood’ Revisited,” Ross Lee Finney,” 26. (Apr-May 05): Hastings Northern New York State,” 82. 221; T. Dennis Brown, “Busted: The Rev. of Joshua Berrett, Louis Armstrong (Mar 04): David W. Music, “Music by Story of Gene Krupa’s Arrest, January & Paul Whiteman: Two Kings of Jazz, Yankee Tunesmiths in Recent Hymnals,” 19, 1943,” 247; rev. essay, “Prism on by Richard A. Crosby, 88. (Jun-Jul 05): 58. (May 04): Ronald Becher, “The Lord’s an Era: Scott DeVeaux’s ‘The Birth of Rev. of William Weber, ed., The Musician Song in a Strange Land: Introducing the Bebop’,” by Henry Martin, 269; rev. as Entrepreneur, 1700-1914: Managers, Organ into a Hispanic Ministry,” 64. essay, “‘Saying Something,’” by Evan Charlatans and Idealists, by Kathleen (Nov 04): Rev. of Splendid Service: Spring, 291; rev. of Peter Pettinger, Bill Rountree, 109. The Restoration of David Tannenberg’s Evans: How My Heart Sings, by Robert Home Moravian Church Organ, 77. (May W. Wason, 309; David Baise, “Books on AMERICAN MUSICAL 05): Marilyn Keiser, “African-American Thelonious Monk,” 315; rev. of Barbara INSTRUMENT SOCIETY Organ Music Anthology,” 57. J. Kukla, Swing City: Newark Nightlife, NEWSLETTER 1925-1950,” by Javier González, 321. (2002 Addendum): “Articles about AMERICAN RECORD GUIDE (11/00-01): David Diamond and Keith Musical Instruments Published 2001- (Sep-Oct 04): Leslie Kandell, “Getting Waters, “Out Front: The Art of Booker 2002: A Selective Bibliography of Around to Ives – The NY Phil: Later than Little,” 1; Clive Downs, “Metric Journal Literature in English”; (Nov 03): Some, But Catching Up,” 11. (Nov-Dec Displacement in the Improvisation of Mimi Shanley Taft, “‘Birth of the Banjo’ 04): Joan Peyser, “Charles Wuorinen: At Charlie Christian,” 39; David Morgan, Exhibition,” 14. (Sp 04): Sara Anne 66, an Unyielding 12-Tone Composer “Superimposition in the Improvisations of Hook, “Preserving the History of Musical Turns to the Stage,” 6; Richard S. Ginell, Herbie Hancock,” 69; Victor Svorinich, Instruments through Deltiology [post “‘Building Music’: Linking Music & “Electric Miles: A Look at the ‘In a Silent cards],” 9. (Sp 05): Susan E. Thompson, Architecture? LA Gives It a Try,” 20; Way’ and ‘One the Corner’ Sessions,” 91;
48 The Bulletin of the Society for American Music • Vol. XXXI, No. 3 Tad Hershorn, “A Photo Gallery,” 108; II (1893-1898),” 206; rev. of Lawrence Ellen Caswell and David Rife, “Jazz Lessig, “Free Culture: How Big Media BLACK MUSIC RESEARCH Fiction: An Annotated Bibliography,” 125; Uses Technology and the Law to Lock JOURNAL rev. of Richard M. Sudhalter, Lost Chords: Down Culture and Control Creativity,” (Sp 02): Gerard Béhague, “Bridging South White Musicians and Their Contribution by Tim Brooks, 244; rev. of Donald America and the United States in Black to Jazz, 1915-45, by Max Harrison, 217; Rosenberg, The Cleveland Orchestra Music Research,” 1; Shannon Dudley, rev. of Lewis Porter, John Coltrane: His Story: ‘Second to None’, by Nancia “The Steelband ‘Own Tune’: Nationalism, Life and Music, by Alexander Stewart, D’Alimonte, 257; rev. of Chris Albertson, Festivity, and Musical Strategies in 237; rev. of Linda Dahl, Morning Glory: Bessie: Revised & Expanded Edition, by Trinidad’s Panorama Competition,” 13; A Biography of Mary Lou Williams, by Greg Johnson, 259; rev. of Richard Cook, Timothy Rommen, “Nationalism and the Ted Buehrer, 253; rev. of Jeroen de Valk, Blue Note Records: The Biography, by Soul: Gospelypso as Independence,” 37; Ben Webster: His Life and His Music, Robert Iannapollo, 260; rev. of Fred W. Dominique Cyrille, “Popular Music and by Jay Sweet, 265; rev. of Geoffrey C. Edmiston, Jazz & Blues – “The Coon- Martinican-Creole Identity,” 65; Melvin Ward and Ken Burns, Jazz: A History of Sanders Nighthawks: ‘The Band That L. Butler, “‘Nou Kwe nan Sentespri’ America’s Music, by Edward Berger, 269; Made Radio Famous,’” by Chuck Haddix, (We Believe in the Holy Spirit): Music, rev. of Robert Walser, ed., Keeping Time: 261; rev. of Scott Yanow, Jazz on Record: Ecstasy, and Identity in Haitian Pentecostal Readings in Jazz History, by Sam Miller, The First Sixty Years, by Vincent Pelote, Worship,” 85; Lorna McDaniel, “Musical 275; rev. of Manfred Selchow, Ding! 264; rev. of Sebastian Danchin, Earl Thoughts on Unresolved Questions and Ding!: A Bio-Discographical Scrapbook Hooker: Blues Master, by Roberta Freund Recent Findings in Big Drum Research,” on Vic Dickenson, by Dan Morgenstern, Schwartz, 265; rev. of Marc W. Ryan, 127. (Fall 02): David Borgo, “Negotiating 281; Jason R. Titus and Keith Waters, Trumpet Records: Diamonds on Farish Freedom: Values and Practices in “Jazz Research Bibliography (1999- Street, by Edmund Komara, 267; rev. of Contemporary Improvised Music,” 2000),” 283. John Shepherd, et al., eds., Continuum 165; Oliver N. Greene, Jr., “Ethnicity, Encyclopedia of Popular Music of the Modernity, and Retention in the Garifuna ANUARIO MUSICAL – REVISTA World, Volume I: Media, Industry and Punta,” 189; Mina Yang, “A Thin Blue DE MUSICOLOGÍA DEL CONSELO Society; Volume II: Performance and Line Down Central Avenue: The LAPD SUPERIOR Production, by Elizabeth A. Wells, 269; and the Demise of a Musical Hub,” (56/2001): Antonio Ezquerro Esteban, rev. of H. Arlo Nimmo, The Andrews 217; Patricia Tamara Alleyne-Dettmers, “Casos curiosos, peculiaridades y formas Sisters: A Biography and Career Record, “Black Kings: Aesthetic Representation alternativas de anotar la música en el área by Peter Shambarger, 271; rev. of David in Carnival in Trinidad and London,” 241; hispánica en el siglo XVII: Procesos de Wondrich, Stomp and Swerve: American Jeff Greenwald, “Hip-Hop Drumming: intercambio entre lo culto y lo popular Music Gets Hot, 1843-1924, by Tim The Rhyme May Define, but the Groove [17th c. religious/secular Hispanic nota- Brooks, 274; rev. of Dave Marsh, Bruce Makes You Move,” 259. (Supplement tion practices],” 97. Springsteen: Two Hearts: The Definitive 2002): Ten best/most-frequently cited arti- Biography, 1972-2003, by Lisa Soccio, cles from BMRJ’s 20-yr history. (Sp/Fall ARS LYRICA 276; rev. of Michael Lydon, Ray Charles: 2003): Fred J. Hay, “Black Musicians (12/2001-02): Alan Swanson, “An Old Man & Music, by Cary Ginell, 278; rev. in Appalachia: An Introduction to Song Resung: A.O. Vinje, Edvard Grieg of Colin Escott, Lost Highway: The True Affrilachian Music,” 1; Barry Lee Pearson, and Charles Ives,” 71. (13/2003): George Story of Country Music, by Andrew Leach, “Appalachian Blues,” 23; Todd Wright Gopen, “The Music of T.S. Eliot’s 281; rev. of Rich Kienzle, Southwest and John Higby, “Appalachian Jazz: Some ‘Four Quartets,’” 29; rev. essay, Mark Shuffle: Pioneers of Honky-Tonk, Western Preliminary Notes,” 53; Jerry Zolten, D. Nelson, “John Cage: Composed by Swing, and Country Jazz, by Joe W. “Movin’ the Mountains: An Overview Academics,” 115. Specht, 283; rev. of Ronald Cohen, ed., of Rhythm and Blues and Its Presence Alan Lomax: Selected Writings (1934- in Appalachia,” 67; doris davenport, “A ASIAN MUSIC 1997), by Cary Ginell, 285. Candle for Queen Ida,” 91; Fred J. Hay, (Win-Sp 05): Susan Miyo Asai, “Music Box Meets the Toccoa Band: The “Cultural Politics: The African American BASS PLAYER Godfather of Soul in Appalachia,” 103; Connection in Asian American Jazz- (Jul 05): Richard Johnston, “Percy Heath Paul F. Wells, “Fiddling as an Avenue Based Music,” 87. [jazz bassist], 1923-2005,” 16. of Black-White Musical Interchange,” 135; Cecelia Conway, “Black Banjo ASSOCIATION FOR RECORDED BBC MUSIC MAGAZINE Songsters in Appalachia,” 149; William SOUND COLLECTIONS JOURNAL (Sep 04): Rev. of Michael Broyles, E. Lightfoot, “The Three Doc(k)s: White (Fall 04): Barry R. Ashpole, “Historic Mavericks and Other Traditions in Blues in Appalachia,” 167. Masters: Re-Issues on 78s of the American Music, by Bayan Northcott, Unpublished, Unknown & Forgotten, 100. (Jan 05): Rev. of Raymond Knapp, BLUE SUEDE NEWS ” 197; Raymond R. Wile, “The North The American Musical and the Formation (Fall 04): Marc Bristol, “The Genius American Phonograph Company: Part of National Identity, 87. Soul of Ray Charles,” 26.
The Bulletin of the Society for American Music • Vol. XXXI, No. 3 49 Étienne Hamel and His ‘Annales CADENCE Musicales du Petit-Cap’: A Manuscript THE CLARINET (Mar 04): Rev. of David Wondrich, Stomp Song Collection of Nineteenth-Century (Dec 03): James Gillespie, “I Wonder and Swerve: American Music Gets Hot Quebec,” 1; Benita Wolters-Fredlund, Who the Clarinet Player Was? Part IV: 1843-1924, by Michael Steinman, 17. (Apr “Leftist, Jewish, and Canadian Identities The Hollywood Clarinetists, Part III: 04): Rev. of Charles L. Granata, Sessions Voiced in the Repertoire of the Toronto Mitchell Lurie,” 60. with Sinatra: Frank Sinatra and the Art of Jewish Folk Choir, 1939-1959,” 19; Philip Recording, by Michael Steinman, 19; rev. Hiscock, “Taking Apart ‘Tickle Cove CLAVE: REVISTA CUBANA DE of Scott Yanow, Jazz on Record: The First Pond’,” 32; David Gregory and Rosaleen MÚSICA Sixty Years, by Larry Nai, 19. (Sep 04): Gregory, “Jewels Left in the Dung-Hills: (4/3 02): Laura Vilar, “Procesos de Rev. of Ben Watson, Derek Bailey and the Broadside and Other Vernacular Ballads Continuidad Cultural en el Caribe: el Story of Free Improvisation, by Anthony Rejected by Francis Child,” 69; rev. of Fenómeno de la Country Dance,” 14; Barnett, 15. (Nov 04): Rev. of Bruce George W. Lyon, Community Music in Ileana Rodríguez, “Arnold Dixon Talbot, Tom Talbert: His Life and Times Alberta: Some Good Schoolhouse Stuff!, Robinson: La Leyenda de Sonny Boy,” 19; - Voices from a Vanished World of Jazz; by Allan Kirby, 81. (30/2003): Leslie Hall, Victoria Eli and Ileana Gueche, “Caminos George Wein and Nate Chinen, George “Rumba and Chachacha: Multicultural de la Electroacoustica en Cuba,” 21; Wein, Myself Among Others: A Life in Contexts in the Greater Toronto Area,” Jesús Gómez Cairo, “Alejo Carpentier: Music; Nate Hintoff, American Music Is, 1; David Montgomery, “Alex Harvey Musicólogo Cubano y Universal,” 37; by Larry Nai, 22. (Jan 05): Rev. of Patricia and ‘The Tomahawk Kid’: Mode and Zoila Gómez, “Umbral de un Centenario: Schroeder, Robert Johnson: Mythmaking Interpretation,” 13; Anna Kearney Guigne, Dos Textos en el Tiempo: ‘La Música and Contemporary American Culture, by “The Songs That Nearly Got Away: An en Cuba’ y ‘Música Popular Brasileña,’” Larry Nai, 30. Examination of the Unpublished Portion 43; Clara Díaz, “Influjos y Reflujos en of Kenneth Peacock’s Newfoundland el Ambito de la Música de Concierto CAMBRIDGE OPERA JOURNAL Field Collection,” 47; Jay Rahn, “Prosody, Americana (1920-1950),” 48. (5/1 03): (Mar 04): Raymond Knapp, “‘Assassins,’ Performance and Perception: Tempo in Danilo Orozco, “Abierto/Cubierto al ‘Oklahoma!’ and the ‘Shifting Fringe of LaRena Clark’s Ballad-Metre Songs,” 64; Descubierto: Encrucijadas Músico- Dark Around the Camp-Fire,’” 77. rev. of Martin Lovelace, Paul Smith and Culturales en la Convulsa Modernidad J.D.A. Widdowson, eds., Folklore: An Global,” 3; Jesus Perez Calderon, “Hip- CANADIAN FOLK MUSIC Emerging Discipline; Selected Essays of hop Entre la Autoafirmación Identitaria BULLETIN Herbert Halpert, by Anna Hoefnagels, y las Redes de la Postmodernidad: (Win 03): Phil Thomas, “‘D’ye Ken Sam 84. Reflexiones En Torno a Su Influencia en Hughes?’ and Two Other Songs from el Ambito Nacional,” 25; Leo Brouwer, the Great War, 1914-1918,” 10; rev. of CANADIAN MUSIC EDUCATOR “El Artista, el Pueblo y el Eslabón Ronald D. Cohen, ed., Alan Lomax: (Win 04): Joe E. Helm, “Baroque Jazz - Perdido,” 34; Sonia Perez Cassola, Selected Writings, 1934-1997, 20; rev. A Comparison of Improvisation between “Industria Musical: Comercio y Mercado: of Still Growing: English Traditional Early Italian Baroque and Traditional Perspectivas Desde la Musicologia,” 39; Songs and Singers from the Cecil Jazz Practices,” 19. (Sum 05): Carolyn Lillian Alvarez Navarrete, “La Industria Sharp Collection, by David Gregory, Neumann, “Community Music Makers: Musical y el Derecho de Autor,” 52; Clara 21. (Sum 04): David Gregory, “Helen The Music of the Sacred Harp,” 32. Diaz, “Industria Musical y Patrimonio: Creighton and the Traditional Songs of De Entidades e Identidad: la Necesaria Nova Scotia,” 1; David Gregory, “The CANADIAN UNIVERSITY MUSIC Sinergia,” 60. Creighton-Senior Collaboration, 1932- REVIEW 1951,” 18; Clary Croft, “Looking Back on (23/1-2 03): Julie Pedneault, “On Popular COLLEGE MUSIC SYMPOSIUM Helen [Creighton; collection methods],” Music/Á Propos de Musique Populaire: (43/2003): Gene Anderson, “The Origin of 36; Clary Croft, “The Helen Creighton Philip Tagg, William Straw,” 1; Teresa Armstrong’s Hot Fives and Hot Sevens,” Fonds [sic] at the Public Archives of Magdanz, “The Celluloid Waltz: Memories 13; George Torres, “Sources for Latin Big Nova Scotia,” 37; rev. of Clary Croft, of the Fairground Carousel,” 62; rev. of Band Performance: An Examination of Helen Creighton: Canada’s First Lady Susan Fast, In the Houses of the Holy: Led the Latin American Stocks in the Library of Folklore, by David Gregory, 41. (Fall Zeppelin and the Power of Rock, by Glenn of Congress,” 25; rev. of Larry Starr 04): Janice Esther Tulk, “Awakening to T. Pillsbury, 212. and Christopher Waterman, American Medicine Dream: Contemporary Native Popular Music: From Minstrelsy to MTV, Music from Alaska with Newfoundland CHORAL JOURNAL by Steven Maxwell, 178; rev. of James R. Roots,” 1; Lorne Brown, “Swan Song for (Dec 04): Ian Loeppky, “Folk, Tradition, Heintze and Michael Saffle, Reflections the Weavers,” 19. and Non-Western Influences in the Choral on American Music: The Twentieth Works of Sid Robinovich: An Examination Century and the New Millennium, by CANADIAN JOURNAL FOR of Two Choral Suites,” 10. (May 05): Craig B. Parker, 179; rev. of Kay Norton, TRADITIONAL MUSIC Joseph T. Rawlins, “Randall Thompson: Baptist Offering, Southern Midwife - Jesse (29/2002): John Beckwith, “Thomas- An American Choral Icon,” 18. Mercer’s ‘Cluster of Spiritual Songs’
50 The Bulletin of the Society for American Music • Vol. XXXI, No. 3 (1810): A Study in American Hymnody, EARLY MUSIC Musical Work Concepts, and Thelonious by Linda Pohly, 183. (44/2004): Rev. (Nov 03): Rev. of Stephen A. Crist, ed., Monk’s Live Recordings from the Five essay of E. Douglas Bomberger, “A Tidal Bach in America, by Howard Schott, Spot, 1958,” 315; rev. of Victoria Lindsay Wave of Encouragement”: American 621. (May 04): Rev. of Richard Cullen Levine, Writing American Indian Music: Composers’ Concerts in the Gilded Age, Rath, How Early America Sounded and Historic Transcriptions, Notations and by Linda Pohly, 133. Alejo Carpentier, Timothy Brennan, ed., Arrangements, by Thomas Vennum, and Alan West-Durán, trans., Music in 440; rev. of Mark Slobin, ed., American COMPUTER MUSIC JOURNAL Cuba, by David Irving, 328. (Aug 04): Klezmer: Its Roots and Offshoots, by (Win 03): Rev. of Nico Schüler, ed., Geoffrey Baker, “Music at Corpus Christi Judah Cohen, 442; rev. of Dennis G. Computer-Applications in Music in Colonial Cuzco,” 355. Waring, Manufacturing the Muse: Estey Research, by Chris Kennett, 95. (Sum 04): Organs and Consumer Culture in Victorian Elias Pampalk, Simon Dixon, and Gerhard ETHNOMUSICOLOGY FORUM America, by Karl Neuenfeldt, 455. (Win Widmer, “Exploring Music Collections (12/2 03): Rev. of Jeff Nevin, Virtuoso 05): Ted Solis, “‘You Shake Your Hips by Browsing Different Views,” 49; rev. Mariachi, by Ruth Hellier-Tinoco, Too Much’: Diasporic Values and Hawaí’i of Margaret Fisher, Ezra Pound’s Radio 107; rev. of Helena Simonett, Banda: Puerto Rican Dance Culture,” 75; rev. of Operas: The BBC Experiments, 1931- Mexican Musical Life Across Borders, Gage Averill, Four Parts, No Waiting: A 1933, by Burt Warren, 85. by Ruth Hellier-Tinoco, 109; rev. of Social History of American Barbershop Heroes and Horses: Corridos from the Harmony, by Mark DeWitt, 123; rev. DANCE RESEARCH Arizona-Sonora Borderlands and ¡Viva of Elizabeth McAlister, Rara!: Vodou, (Win 04): Rev. of Nancy Lee Chalfa el Mariachi! Nati Cano’s Mariachi Los Power, and Performance in Haiti and Suyter, The Cultivation of Body and Camperos, by Ruth Hellier-Tinoco, 112; Its Diaspora, by Daniel Tennehill Neely, Mind in Nineteenth-Century American rev. of Ruth Crawford Seeger, The Music 126; rev. of Walter Aaron Clark, ed., Delsartism; Linda J. Tomko, Dancing of American Folk Song, by Vic Gammon, From Tejano to Tango: Latin American Class: Gender, Ethnicity and Social 130. Popular Music; Frances Aparicio and Divides in American Dance, 1890-1920; Candida Jaquez, eds., Musical Migrations: rev. of Nancy Ruyter, Reformers and ETHNOMUSICOLOGY Transnationalism and Cultural Hybridity Visionaries: The Americanisation of the (Win 03): Robin Moore, “Transformations in Latin/o America, Volume I; Lise Waxer, Art of Dance, by Helen Thomas, 185. in Cuban ‘Nueva trova,’ 1965-95,” 1; ed., Situating Salsa: Global Markets and rev. of Ricardo Miranda, Ecos, alien- Local Meaning in Latin Popular Music, DANCE RESEARCH JOURNAL tos, y sonidos: Ensayos sobre música by Frederick Moehn, 137; rev. of Drew (Win 04): Kate Ramsey, “Caribbean mexicana, by John Koegal, 121; rev. of Beisswenger, Fiddling Way Out Yonder: Dance from Abakuá to Zouk: How Williams H.A. Williams, ‘Twas Only an The Life and Music of Melvin Wine, by Movement Shapes Identity,” 158; Sara Irishman’s Dream: The Image of Ireland Carl Rahkonen, 142; rev. of Jeff Todd Wolf, “Writing in the Dark, Dancing and the Irish in American Popular Song Titon and Bob Carlin, eds., American in the New Yorker: An Arlene Croce Lyrics, 1800-1920 and Robert R. Grimes, Musical Traditions, by Larry Ward, 144. Reader/Critical Gestures: Writings on How Shall We Sing in a Foreign Land?: (Sp-Sum 05): Heidi Carolyn Feldman, Dance and Culture,” 173; Tom Hagood, Music of Irish Catholic Immigrants in “The Black Pacific: Cuban and Brazilian “Moving Lessons: Margaret H’Doubler the Antebellum United States, by Sean Echoes in the Afro-Peruvian Revival,” 206; and the Beginning of Dance in American Williams, 127. (Sp-Sum 03): Lara Allen, rev. of Helena Simonett, Banda: Mexican Education,” 176. “Commerce, Politics, and Musical Musical Life across Borders, by Brenda Hybridity: Vocalizing Urban Black South M. Romero, 312; rev. of Kai Fikentscher, DIRTY LINEN African Identity During the 1950s,” 228; “You Better Work”: Underground Dance (Oct/Nov 04): Kerry Dexter, “Austin City rev. of Eric Zolov, Refried Elvis: The Music in New York City, by Eliot Bates, Limits: 30 Years of Pushing the Limits,” Rise of the Mexican Counterculture, by 316; rev. of José Manuel Valenzuela, 44. (Feb/Mar 05): Rev. of Mark Cameron Peter J. Garcia, 254; rev. of Manual Peña, Jefe de jefes: Corridos y narcocultura en Edberg, El Narcotraficante: Narcocorridos Música Tejana and Mexican American México, by Alejandro L. Madrid; briefly & the Construction of a Cultural Persona Orquesta: Music Culture and the Dialectic noted: Linda J. Goodman and Helma on the U.S.-Mexico Border, 93. (Apr/May of Conflict, by Cathy Ragland, 254; rev. Swan, Singing the Songs of My Ancestors: 05): Dan Willging, “Louisiana’s Prodigal of Jeff Todd Titon, Old-Time Kentucky The Life and Music of Helma Swan, Son: Creole Fiddling,” 44. Fiddle Tunes, by Chris Goertzen, 261. (Sp- Makah Elder; Luke Eric Lassiter, Clyde Sum 04): Alex Stewart, “Contemporary Ellis, and Ralph Kotay, The Jesus Road: THE DULCIMER PLAYERS NEWS New York City Big Bands: Composition, Kiowas, Christianity, and Indian Hymns; (May-July 04): Linda McCarty, “Amazing Arranging and Individuality in Orchestral James P. Leary, Yodeling in Dairyland: A Grace: From the ‘Winchester Star,’ Jazz,” 169; rev. of John Schechter, Music History of Swiss Music in Wisconsin, by Winchester, VA - Hymn with Universal in Latin American Culture: Regional Melinda Russell. Appeal Has Local Ties,” 20. Traditions, by Robert W. Templeman, 288. (Fall 04): Gabriel Solis, “‘A Unique FANFARE Chunk of Jazz Reality’: Authorship, (Sep/Oct 04): James Reel, “Revisiting
The Bulletin of the Society for American Music • Vol. XXXI, No. 3 51 Composer Daniel Asia,” 38. (Nov/Dec Kulturgeschichte, by Philip V. Bohlman, Worship, the historiography of American 04): Jerry Dubins, “The Milken Archive 654; rev. of Steve Roud, Eddie Upton sacred worship],” 34. (Oct 04): Rev. of of American Jewish Music at One Year,” and Malcolm Taylor, eds., Still Growing: Kay Norton, Baptist Offspring, Southern 44. English Traditional Songs and Singers Midwife: Jesse Mercer’s Cluster of from the Cecil Sharp Collection by Roy Spiritual Songs (1810): A Study in FILM SCORE MONTHLY Palmer, 662; rev. of Ronald D. Cohen, American Hymnody, by Kenneth R. (Jul 04): Charles Goldman, “George Rainbow Quest: The Folk Music Revival Hull, 42; rev. of Alan Gaunt, Delight Bassman: Rhapsody in Black - A Golden & American Society, 1940-1970, by Steve that Never Dies: Hymn Texts 1997-2003, Age Composer Profile,” 14. (Aug 04): Jeff Roud, 668. by John Core, 43; rev. of Faye Jennings Bond, “The Gold Standard: Quantifying Thompson, Notes on Shaped Notes: Jerry Goldsmith’s Contribution to Film FOLK ROOTS Remembering Some Places, Events, and Music Isn’t Easy,” 12; John Takis, (Apr 05): Rev. of Ian Russell and David People in the History of Traditional, “Good as Goldsmith: The Goldsmith Atkinson, eds., Folk Song: Tradition, Convention-Style Gospel Music, by Harry Method as Revealed in Four 1960s Revival and Re-Creation, by Vic Smith, Eskew, 44; rev. of Richard J. Mouw and Masterpieces,” 28; several more articles 117; rev. of Yates, Bradke and Taylor, Mark A. Noll, Wonderful Words of Life: on Goldsmith. (Sep 04): Jeff Bond, “Jerry eds., Dear Companion: Appalachian Hymns in American Protestant History Goldsmith Buyer’s Guide: Part 7: The Traditional Songs from the Cecil Sharp and Theology, by William J. Reynolds, Final Conflict,” 20. (Oct 04): Jeff Bond, Collection, 119. 50; rev. of Alan Clark Buechner, Yankee “Amazing Grace & Pluck: In the World Singing Schools and the Golden Age of of Film Scoring, Elmer Bernstein Was a GRAMOPHONE Choral Music in New England, 1760- Man for All Seasons (and Genres),” 16; (May 04): Andrew Farach-Cotton, “He’s 1800, by Larry Wolz, 51. (Win 05): David Jeff Bond, “The Good Artist: Tributes a Seriously Funny Guy [David Zinman],” W. Music, “‘An Holy Duty of God’s from Friends, Peers and Colleagues,” 19; 24. (Aug 04): Jeremy Nicholas, “Detour... Worship’: John Cotton’s ‘Singing of Ross Care, “By Film Possessed: Elmer Fats Waller,” 30. (Sep 04): Nick Kimberly, Psalms a Gospel Ordinance,’” 7; rev. Bernstein’s First Decade of Film Scoring: “Face to Face with Glass,” 26. (Dec 04): of Stephen A. Marini, The Norumbega 1951-1961,” 22; Roger Hall, “Elmer’s Rev. of Walter Simmons, Voices in the Harmony: Historic and Contemporary Magnificent 7: Essential Elmer Bernstein Wilderness: Six American Neo-Romantic Hymn Tunes and Anthems from the New Scores from the 1960s,” 26; Mark Hasan, Composers, by Ken Smith, 127. (Jan England Singing School Tradition, by “Musings of a Maestro: From Broadway to 05): Rev. of William Howland Kenney, David W. Music, 49; rev. of Fred Kimball the Big Screen, from Toy Trains to Poetry, Recorded Music in American Life: The Graham, “With One Heart and Voice”: A Mr. Bernstein Did It All...and, Fortunately Phonograph and Popular Memory Core Repertory of Hymn Tunes Published for Us, Talked About It, Too,” 30. 1890-1945, by Ken Smith, A18. (Feb for Use in the Methodist Episcopal 05): Rev. of Maurice Peress, Dvorák to Church, 1808-1878, by Robin Knowles FLUTE TALK Duke Ellington: A Conductor Explores Wallace, 50. (Mar 04): Victoria Jicha, “Puzzles Persist America’s Music and Its African-American in Three Scores for Charles Griffes’s Roots, by Ken Smith, 94; rev. of Arved INSTITUTE FOR STUDIES IN ‘Poem’,” 10. (Apr 04): Tiffany Campbell, Ashby, ed., The Pleasure of Modernist AMERICAN MUSIC NEWSLETTER “The Lyrical Nature of Libby Larsen’s Music, by Arnold Whittall, 95. (Mar 05): (Fall 04): Adrienne Fried Block, “The ‘Aubade’,” 11; Victoria Jicha, “George Rev. of Joseph Horowitz, Classical Music Composer, the Work, and Its Audience, Washington’s Flute,” 26. in America: A History of Its Rise and Fall, 1820-1920,” 1; Kenneth Bilby, “Calypso by Donald Rosenberg, A18. as a World Music,” 4; Evan Rapport, FOLK MUSIC JOURNAL “Religious Music of Jewish Americans,” (8/4 2004): Rev. of Benjamin Filene, THE HYMN 8; Noah Creshevsky, “What Is a River?: Romancing the Folk: Public Memory and (Apr 04): Paul A. Richardson, “The Annea Lockwood’s Sonic Journeys,” American Roots Music; Bryan K. Garman, Missouri Harmony: A Book of Many 6; Ray Allen, “Reviving the Folk,” 10. A Race of Singers: Whitman’s Working- Chapters,” 15; Anne Bagnall Yardley, (Sp 05): Daniel Goldmark, “Jungle Jive: class Hero from Guthrie to Springsteen; “Hymns in Periodical Literature [includ- Race, Jazz, and Cartoons,” 1; Benjamin and Timothy P. Lynch, Strike Songs of the ing: “The ‘Other’ Billings: The Life Piekut, “Taking Henry Flynt Seriously,” Depression, by Michael Pickering, 528; and Music of Nathaniel Billings (1768- 6; Wayne Marshall, “Hearing Hip-Hop’s Peter Millington, “‘The James Madison 1853), An Early American Composer” Jamaican Accent,” 8; rev. of Mark Katz, Carpenter Collection Online Catalogue: by Karl Kroeger and Joan R. Callahan; Capturing Sound: How Technology Has A Searchable Online Catalogue of the “Toward a Living Tradition of Liturgical Changed Music and Making Beats: The James Madison Carpenter Collection,’ Music in Orthodox America” by Mark Art of Sample-Based Hip-Hop, by Joseph held at the Archive of Folk Culture, Bailey],” 24; rev. of Tina M. Schneider, Auner, 10; Gayle Sherwood Magee, American Folklife Center, Library of Hymnal Collections of North America, “Singing Ives,” 11; rev. of Larry Starr Congress,” 545. (8/5 2005): Rev. of by Paul R. Powell, 39. (Jul 04): Anne and Christopher Waterman, American Christoph Wagner, Das Akkordeon, oder Bagnall Yardley, “Hymns in Periodical Popular Music: From Minstrelsy to MTV, die Erfindung der populären Musik: Eine Literature [including Haitian Pentecostal by Daniel Sonenberg, 12.
52 The Bulletin of the Society for American Music • Vol. XXXI, No. 3 Pete Anderson, “The Plunger Mute and Manfred Straka, 182; rev. of Oscar THE INSTRUMENTALIST Tyree Glenn [Ellington member],” 26. Peterson, Oscar Peterson: Note for Note; (Feb 04): Danny Rocks, “The History Transcriptions of Classic Recordings, by and Evolution of U.S. Copyright Law: INTERNATIONAL TRUMPET F. Krieger, 184. A Guide for Teachers and Students,” GUILD JOURNAL 48. (May 04): “Historical Instruments,” (Oct 04): Carole Nowicki, “Walter F. JOURNAL OF AMERICAN 59. (Jun 04): Michael J. Colburn, “John Smith, ‘The Star of the Band’,” 48. FOLKLORE Williams Returns to Bands Where He (Jan 05): Tom Erdmann, “A Passion (Sp 03): Neil V. Rosenberg, “Lead Belly Began 50 Years Ago,” 12. (Oct 04): for Creativity: An Interview with Herb Reissues as Sound Documentary: From Christopher Knighten, “JoAnn Falletta Alpert,” 21. (June 05): Leigh Anne Item to Event,” 219. (Sum 03): Howard [promotion of American music],” 12. Hunsaker, “Baroque Trumpet Study in the L. Sacks, “From the Barn to the Bowery (Nov 04): [Sousa’s 150th] Frank Byrne, United States,” 37. and Back Again: Musical Routes in Rural “Patriotism and Marketing Built the Ohio, 1800-1929 [Phillips Barry Lecture, Sousa Legend,” 20; Robert Foster, “A JAZZ EDUCATION JOURNAL October 2000],” 314; rev. of Bernice Shrewd and Gracious Man,” 34; Robert (Jun 05): Andrew Scott, “Oscar Peterson’s Johnson Reagon, If You Don’t Go, Don’t Foster, “The Stars and Stripes Forever,” Advanced School of Contemporary Music Hinder Me: The African American Song 46; Keith Brion, “John Philip Sousa - A [ASCM],” 34; Alan Bergman, “IAJE Tradition, by Chris Goertzen, 366. (Fall Master of Programming,” 50; John R. Legal Issues in Jazz: Music Publishing: 03): Ronald Loewe, “Yucatán’s Dancing Bourgeois, “Sousa Often Changed Parts Its History, Structure, and Operation and Pig’s Head (‘Cuch’): Icon, Carnival, and of His Marches,” 54. Its Future in a Changing Industry - Part II: Commodity,” 420; rev. of Yaakov Elman Administration,” 68. and Israel Gershoni, eds., Transmitting INTERNATIONAL ASSOCIATION Jewish Traditions: Orality, Textuality, and OF JAZZ RECORD COLLECTORS JAZZFORSCHUNG Cultural Diffusion, by David Elton Gay, JOURNAL (34/2002): Alfons Michael Dauer, “Die 486; rev. of Gavin Greig, The Subject (Sp 04): Donald R. Hanson, “The Gladdest Contraband Songs. Zur Vorgeschichte of Folksong: Collected Writings on Tale: A Portrait of Duke Ellington,” 22; des Negro Spiritual 1,” 39; Maximilian Scottish Folksong, by Ed Cray, 499; rev. Bjarne Busk, “Duke Ellington Material Hendler, “Salt Peanuts: Strassenhändlerrufe of Textualization of Oral Epics and The Recorded by Other Artists in the 1920s in der Afro-Amerkanischen Musik,” 49; Oral Epic: Performance and Music, by and 1930s,” 28; rev. of Duncan Schiedt, Thomas Phleps, “‘Hell Hound on My David Elton Gay, 500. (Win 04): Stephen Jazz in Black & White: The Photographs Trail’ - Robert Johnson: Mythos und D. Winick, “Reggae Wisdom: Proverbs of Duncan Schiedt, by Russ Chase, 76; Musik,” 57; Franz Kerschbaumer, “Der in Jamaican Music,” 106; Manuel rev. of Dieter Salemann, Clyde Hart 1931- Einfluss des Free Jazz auf die Musik von Peña, “Poetry and Violence: The Ballad 1945, by Russ Chase, 76; rev. of Bob Miles Davis,” 109; Jürgen Schwab, “Jim Tradition of Mexico’s Costa Chica,” 107; Weir, Clifford Brown Discography, by Hall - Analytische Betrachtungen zum Craig Morrison, “Race, Rock, and Elvis,” Russ Chase, 77; rev. of Luiz Carlos de Vater der Modernen Jazzgitarre,” 115; 117. (Sp 04): rev. of Drew Beisswenger, Nascimento Silva, Put Your Dreams Away Herbert Hellhund, “Parker Revisited,” Fiddling Way Out Yonder: The Life - A Frank Sinatra Discography, by Russ 149. (36/2004): Bernd Hoffmann, “‘... bei and Music of Melvin Wine, 206; rev. of Chase, 77; rev. of Jürgen Wölfer, Anita den Klängen heißer Jazztrompeten’: Die Roger deV. Renwick, Recentering Anglo/ O’Day: A Discography, by Bob Reny, historische Einschätzung des europäisch- American Folksong: Sea Crabs and 78; rev. of Philip Larkin, Larkin’s Jazz- en und des afrikanischen Anteils an der Wicked Youths, by Gerald Porter, 211; rev. Essays and Reviews, 1940-1984, by John Entstehung des Jazz,” 73; Gerd Grupe, of Betsy Bowden, Performed Literature: Nelson,78. “Kam der Swing aus Afrika? Zum Words and Music by Bob Dylan, by Jack Mikrotiming in afrikanischer Musik,” 87; Shortlidge, 212. (Sum 04): Ray Allen, INTERNATIONAL JOURNAL OF Franz Kerschbaumer, “Der Einfluß der “An American Folk Opera?: Triangulating MUSIC EDUCATION iro-schottischen Musik auf die Entstehung Folkness, Blackness, and Americaness (38/2001): Book info: Patricia Shehan des Jazz,” 97; Peter Wegele, “Der Einfluß in Gershwin and Heyward’s Porgy and Campbell and Ana Lucia Frega, Songs Richard Wagners auf die Filmmusik in Bess,” 243; Jeff Todd Titon, “Letter of Latin America: From the Field to Hollywood,” Alfons Michael Dauer, from Ole Bull to Sara Thorp,” 316. (Fall the Classroom, 29. (Dec 04): Alexandra “LMST - Lineare Mehrstimmigkeit. Zur 04): Rev. of Eleanor T. Long-Wilgus, Kertz-Welzel, “Didaktik of Music: A Mehrstimmigkeit alter Gospelformen,” Naomi Wise: Creation, Recreation, German Concept and Its Comparison to 143; Maximilian Hendler, “‘Sheep, Sheep, and Continuity in an American Ballad American Music Pedagogy,” 277. Don’t You Know the Road?’ - Zur Herkunft Tradition, by Ed Cray, 472. des Kurzphrasenresponsoriums in der INTERNATIONAL TROMBONE afro-amerikanischen Musik,” 153; rev. of JOURNAL OF FILM MUSIC ASSOCIATION JOURNAL Henry Martin and Keith Waters, “Sheep, (Fall-Win 03): E. Todd Fiegel, “Bernard (Jan 03): Gerald Sloan, “Los Huesos: A Sheep, Don’t You Know the Road?” - Zur Herrmann as Musical Colorist: A Closer Look at Latin Trombonists [and Herkunft des Kurzphrasenresponsoriums Musicodramatic Analysis of His Score instrument development],” 30. (Apr 04): in der afro-amerikanischen Musik, by for The Day the Earth Stood Still,” 185;
The Bulletin of the Society for American Music • Vol. XXXI, No. 3 53 James Wierzbicki, “Grand Illusion: The Adventures of Riders in the Sky, by David Philosophy, and Intention, 1933-1950, by ‘Storm Cloud’ Music in Hitchcock’s The Broad, 209. (Nov 04): Rev. of Elijah Eric Smigel, 420. Man Who Knew Too Much,” 217; David Wald, Escaping the Delta: Robert Johnson Cooper, “Film Form and Musical Form and the Invention of the Blues, by Phil JOURNAL OF THE ROYAL in Bernard Herrmann’s Score to Vertigo,” Samponaro, 436; rev. of W.T. Lhamon, MUSICAL ASSOCIATION 239; William Wrobel, “Self-Borrowing in Jump Jim Crow: Lost Plays, Lyrics, and (128:2/2003): Danae Stefanou, “Mapping the Music of Bernard Herrmann,” 249; Street Prose of the First Atlantic Popular a Museum without Walls: John Cage rev. of Steven C. Smith, A Heart at Fire’s Culture and Christopher Metress, ed., The and Musicology.” (129:4/2004): David Center: The Life and Music of Bernard Lynching of Emmett Till: A Documentary Nicholls, “Virtual Opera, or Opera Herrmann, by Richard Littlefield, 273; Narrative, by Jennifer Tebbe-Grossman, Between the Ears,” 100. (128:2/2004): rev. of Dominique Nasta, Meaning in 446. (Feb 05): Rev. of Dean Budnick, Alastair Williams, “Voices of the Other: Film: Relevant Structures in Soundtrack Jambands: The Complete Guide to the Wolfgang Rihm’s Music Drama Die and Narrative, by Melissa Ursula Dawn Players, Music & Scene, by Philip Booth, Eroberung von Mexico,” 240. Goldsmith, 283; rev. of Jon Burlingame, 574; rev. of Joel Dinerstein, Swinging Sound and Vision: 60 Years of Motion the Machine: Modernity, Technology, and MUSIC AND LETTERS Picture Soundtracks, by Rika Asai, 289; African American Culture Between the (May 03): Rev. of David W. Bernstein and rev. of Daniel Goldmark and Yuval Taylor, World Wars, by Betty Parker Duff, 579. Christopher Hatch, eds., Writings through eds., The Cartoon Music Book, by Eric (May 05): George Guida, “Las Vegas John Cage’s Music, Poetry, and Art and Hung, 293; rev. of Pamela Robertson Jubilee: Louis Prima’s 1950s Stage Act David Patterson, John Cage: Music, Wojcik and Arthur Knight, Soundtrack as Multicultural Pageant,” 678; Frank Philosophy, and Intention, by David Available: Essays on Film and Popular A. Salamone, “Jazz and Its Impact on Nicholls, 335; rev. of David Sudnow, Music, by K.J. Donnelly, 297. European Classical Music,” 732. Ways of the Hand: A Rewritten Account [improvisation], by Eric Clarke, 336; rev. JOURNAL OF FOLKLORE JOURNAL OF RESEARCH IN MUSIC of Vron Ware and Les Back, Out of RESEARCH EDUCATION Whiteness: Color, Politics, and Culture, (Sep-Dec 03): Tok Freeland Thompson, (Sp 03): Sondra Wieland Howe, “The by Philip V. Bohlman, 338. (Aug 03): Rev. “‘Ladies and Gentlemen, The North Road NBC Music Appreciation Hour: Radio of Alejo Carpentier, Music in Cuba, by Pounders!’: An Inquiry into Identity, Broadcasts of Walter Damrosch, 1928- Susan Thomas, 511; rev. of Dick Higgins, Aesthetics, and New Authenticities in 1942,” 64. (Fall 03): Cynthia M. Colwell, ed., Essential Cowell: Selected Writings Rural Alaska,” 273. (May-Aug 04): George H. Heller, “Lowell Mason’s ‘The on Music by Henry Cowell, by David Barbara Chandler, “Why I Believe That Song Garden’ (1864-66): Its Background, Nicholls, 516; rev. of Roger Reynolds, Lloyd Chandler Wrote ‘Conversation with Content, and Comparison to a Twentieth- Form and Method: Composing Music, The Death,’ Also Known as ‘Death’,” 127; Carl Century Series,” 231. Rothschild Essays, by Arnold Whittall, Lindahl, “Thrills and Miracles: Legends 517. (Nov 03): Rev. of David Nicholls, of Lloyd Chandler,” 133; Carl Lindahl, JOURNAL OF SINGING The Cambridge Companion to John “Afterword [re: authorship],”173. (Mar-Apr 04): William J. Lavonis, “‘You Cage and Jean-Jacques Nattiez, Pierre Pray Double When You Sing’ (Peter Boulez - John Cage: Correspondance et JOURNAL OF MUSICOLOGICAL Garcia, San Juan Pueblo, September Document, by Arnold Whittall, 677; rev. RESEARCH 2000): A Study in Native American of Mark Slobin, ed., American Klezmer: (Apr-Jun 04): David Ake, “Negotiating Singing and Song,” 341. (Mar-Apr 05): Its Roots and Offshoots, by Abigail Wood, National Identity Among American Jazz Rev. of Jacqueline Roberts and Kerstin 688; rev. of Allan F. Moore, Rock: The Musicians in Paris,” 159. Warner, A Journey with John Jacob Niles: Primary Text: Developing a Musicology A Memoir of My Years with Johnnie, by of Rock, by Kenneth Gloag, 690; rev. of JOURNAL OF MUSICOLOGY Debra Greschner, 427. Susan Fast, In the Houses of the Holy: Led (Fall 04): Rev. of Andrea Most, Making Zeppelin and the Power of Rock Music and Americans: Jews and the Broadway JOURNAL OF THE AMERICAN Steve Waksman, Instruments of Desire: Musical, by Geoffrey Block, 579. MUSICOLOGICAL SOCIETY The Electric Guitar and the Shaping of (Sp 04): Charles Hiroshi Garrett, Musical Experience, by Andrew Berish, JOURNAL OF NEW MUSIC “Chinatown, Whose Chinatown?: 692. (Feb 04): Rev. of Paul Hillier, Steve RESEARCH Defining America’s Borders with Musical Reich: Writings on Music 1965-2000, by (Jun 03): J. Stephen Downie and Joe Orientalism,” 119. (Sum 04): Brooks Bob Gilmore, 137. (May 04): Rev. of Joel Futrelle, “Interdisciplinary Research Toliver, “Eco-ing in the Canyon: Ferde Galand, ed., The Firebrand of New York: Issues in Music Information Retrieval: Grofé’s ‘Grand Canyon Suite’ and the Kurt Weill and His ‘Broadway Operetta’, ISMIR 2000-2002,” 121. Transformation of Wilderness,” 325; rev. by Charles Hamm, 239; rev. of Stephen A. of David W. Bernstein, and Christopher Crist, Bach in America, by J. Bunker Clark, JOURNAL OF POPULAR CULTURE Hatch, eds., Writings Through John 280; rev. of Peter Dickinson, ed., Copland (Aug 04): Rev. of Don Cusic, It’s the Cage’s Music, Poetry, and Art; David Connotations, by Neil Lerner, 332; rev. Cowboy Way: The Amazing True W. Patterson, ed., John Cage: Music, of Richard Kostelanetz, Conversing
54 The Bulletin of the Society for American Music • Vol. XXXI, No. 3 with Cage, by David Nicholls, 335; rev. of Bespoke Pitch-Class Set Genera as International Avant-Garde: Earle Brown of Allan Moore, ed., The Cambridge Models of Harmonic Duality in William and the Time-Mainstream Contemporary Companion to Blues and Gospel Music, Schuman’s Sixth Symphony,” 243; John Sound Series,” 350; David Korevaar and by Mervyn Cooke, 339. (Aug 04): Rev. of Roeder, “Beat-Class Modulation in Laurie Sampsel, “The Ricardo Viñes Rendering the Sense More Conspicuous: Steve Reich’s Music,” 275. (Fall 04): Piano Music Collection at the University Grammatical and Rhetorical Principles Guy Capuzzo, “Neo-Riemannian Theory of Colorado at Boulder,” 361; rev. of of Vocal Phrasing in Art and Popular/Jazz and the Analysis of Pop-Rock Music,” Chris Albertson, Bessie [Smith], by Larry Music, by Robert Toft, 368; rev. of Glenn 177; Walter Everett, “A Royal Scam: The F. Ward, 458; rev. of Michael Cogswell, Watkins, Proof through the Night: Music Abstruse and Ironic Bop-Rock Harmony Louis Armstrong: The Offstage Story of and the Great War, by Stephen Downes, of Steely Dan,” 201; rev. of Taylor Satchmo, by D.J. Hoek, 460; rev. of 489. (Nov 04): Rev. of Joseph Peter Swain, Aitken Greer, A Question of Balance: Helen Martens, Hutterite Songs, by The Broadway Musical: A Critical and Charles Seeger’s Philosophy of Music, Doreen Helen Klassen, 462; rev. of Devin Musical Survey, by Tim Carter, 674. (Feb by Lawrence M. Zbikowski, 305; rev. McKinney, Magic Circles: The Beatles 05): Rev. of Arthur Berger, Reflections of Ellie M. Hisama, Gendering Musical in Dream and History, by Mark Mazullo, of an American Composer, by Williams Modernism: The Music of Ruth Crawford, 465; rev. of Steven Taylor, False Prophet: Brooks, 154; rev. of Stephen Peles, ed., Marian Bauer, and Miriam Gideon, by Fieldnotes from the Punk Underground, The Collected Essays of Milton Babbitt, Elizabeth Sayrs, 314; rev. of Lori Burns by Steve Waksman, 467; rev. of Timothy by Bryan R. Simms, 157. (May 05): Rev. and Mélisse Lafrance, Disruptive Divas: Duffy, ed., Music Makers: Portraits and of Timothy Mangan and Irene Herrmann, Feminism, Identity & Popular Music, by Songs from the Roots of America, by eds., Paul Bowles on Music, by Bob Marianne Tatom Letts, 329. David Evans, 469. (Mar 05): Rev. of Gilmore, 315; rev. of Annette Davison, Arnold Whittall, Exploring Twentieth- Hollywood Theory, Non-Hollywood THE MUSICAL QUARTERLY Century Music: Tradition and Innovation, Practice: Cinema Soundtracks in the (Fall 02): Kyra D. Gaunt, “‘The Two by Gregory Marion, 743; rev. of Craig 1980s and 1990s, by Marcia J. Citron, O’Clock Vibe’: Embodying the Jam of Werner, Higher Ground: Stevie Wonder, 322; rev. of Goffredom Plastino, ed., Musical Blackness In and Out of Its Aretha Franklin, Curtis Mayfield, and Mediterranean Mosaic: Popular Music Everyday Context,” 372; Jeremy the Rise and Fall of American Soul, and Global Sounds, by Alexander Lingas, Grimshaw, “High, ‘Low,’ and Plastic Arts: by Andrew Flory, 752; rev. of Michael 328. Philip Glass and the Symphony in the Age Broyles, Mavericks and Other Traditions of Postproduction,” 472; Rob Haskins, in American Music, by Catherine MUSIC EDUCATION RESEARCH “Philip Glass and Michael Riesman: Pellegrino, 754; rev. of Jerma A. Jackson, (July 03): Joan Tucker, “Before the Two Interviews,” 508. (Win 02): Gayle Singing in My Soul: Black Gospel Music National Curriculum: A Study of Music Murchison, “Mary Lou Williams’s Hymn in a Secular Age, by Morris S. Levy, 757. Education in Jamaican Post-Primary Black Christ of the Andes (St. Martin de (Jun 05): Esther Gillie, Thomas H. Teper, Institutions,” 157. (Mar 04): Manny Brand, Porres): Vatican II, Civil Rights, and Jazz “Assessing the University of Illinois at “Collectivistic versus Individualistic as Sacred Music,” 591. (Sp 04): Olivia Urbana-Champaign’s Score Collection,” Cultures: A Comparison of American, A. Bloechl, “Protestant Imperialism and 939; Harry Eskew, “The English and Australian, and Chinese Music Education the Representation of Native American American Hymnody Collection of the Pitts Students’ Self-Esteem,” 57. (Nov 04): Song,” 44. Theology Library, Emory University,” Johan Söderman and Göran Folkestad, 958; rev. of Annette Davison, Hollywood “How Hip-Hop Musicians Learn: MUSICAL TIMES Theory, Non-Hollywood Practice: Cinema Strategies in Informal Creative Music (Sp 05): Rev. of Michael Broyles, Soundtracks in the 1980s and 1990s, by Making,” 313. Mavericks and Other Traditions in Leslie N. Andersen, 999; rev. of Robert American Music, by Wilfred Mellers, Wyatt and John Andrew Johnson, eds., MUSIC IN ART 109. The George Gershwin Reader, by Larry (Sp-Fall 03): Mark Howell, “Concerning Starr, 1015; rev. of Tammy L. Kernodle, the Origin and Dissemination of the NEUE ZEITSCHRIFT FÜR MUSIK Soul on Soul: The Life and Music of Mary Mesoamerican Slit-Drum,” 45. (Jan-Feb 05): Sabine Breitsameter Lou Williams, by Edward M. Komara, and Ludger Brümmer, “‘Trans- 1019; rev. of Robert Philip, Performing MUSIC PERCEPTION Canada’: Positionen Elektroakustischer Music in the Age of Recording, by Richard (Sum 03): Rev. of Ken Stephenson, What Komposition im ZKM Karlsruhe,” 54. Le Sueur, 1021; rev. of Maurice Peress, to Listen for in Rock: A Stylistic Analysis, (May-June 05): Christoph Wagner, Dvorák to Duke Ellington: A Conductor by Robert Gjerdingen, 491. “Anthony Braxton, Grenzgänger zwisch- Explores America’s Music and Its African en Modernem Jazz und neuer Musik, American Roots, by Susan Key, 1025; rev. MUSIC THEORY SPECTRUM Feiert 60, Geburtstag,” 58. of Andy Bennett and Richard A. Peterson, (Sp 03): Stephen C. Brown, “Dual Interval eds., Music Scenes: Local, Translocal, Space in Twentieth-Century Music [incl NOTES: QUARTERLY JOURNAL and Virtual, by Timothy Dean Taylor, Carl Ruggles],” 35. (Fall 03): Richard C. OF THE MUSIC LIBRARY ASSOC. 1026; rev. of Joseph Glenn Schloss, Pye, “The Construction and Interpretation (Dec 04): D.J. Hoek, “Documenting the Making Beats: The Art of Sample-Based
The Bulletin of the Society for American Music • Vol. XXXI, No. 3 55 Hip-Hop, by Mark Katz, 1028; rev. THE PERFORMING SONGWRITER “Copyright and Popular Musicology,” of Michael Streissguth, Voices of the (May 02): Clay Steakley, “The Innovative 203; rev. of Frederick J. Spencer, Jazz and Country: Interviews with Classic Country Rock ’n’ Roll of Garbage,” 26; Lydia Death: Medical Profiles of Jazz Greats, Performers, by Jeanette L. Casey, 1032. Hutchinson, “Celebrating Another Day: by Raymond MacDonald, 235. James Taylor,” 54; Paul Zollo, “Legends THE OLD-TIME HERALD of Songwriting: Stephen Foster,” 88. POPULAR MUSIC AND SOCIETY (Win 03-04): Phil Jamison, “‘Fly to the (Jul-Aug 02): Clay Steakley, “Country’s (Feb 04): Jana Evans Braziel, “‘Bye, East, Fly to the West’: Play-Parties, Square Honky-Tonk Angel: Loretta Lynn,” 76; Bye Baby’: Race, Bisexuality, and the Dancing, and Old-Time Music,” 8; Ulf Paul Zollo, “Legends of Songwriting: Blues in the Music of Bessie Smith and Jägfors, “The African Akonting and the Sammy Cahn,” 90. (Sep-Oct 02): Rick Janis Joplin,” 3; Tom S. Caw, “Popular Origin of the Banjo,” 26. (Fall 04): Linda Petreycik, “Rock’s Music Everyman: Music Studies Information Needs: You Higginbotham, “Violet Hensley: The Jackson Browne,” 70; Bill DeMain, Just Might Find...,” 48; B. Lee Cooper, Whittling Fiddler of Yellville, Arkansas,” “King-Sized! The Stories Behind Four of “The Sky Is Crying: Tales Told in Tearful 14; Deb Porter and Lil Rev, “‘Just a Elvis Presley’s Biggest Hits,” 88. (Nov Tunes [sad/mournful songs; incl. dis- Few Penny Dreadfuls’: The Ukulele and 02): Russell Hail, “Aerosmith,” 38; Bill cography],” 107; rev. of Ernesto Juan Old-Time Country Music,” 19; Jeff Todd DeMain, “Dolly Parton: River Deep, Castellanos, ed., Los Beatles en Cuba: Titon, “Letter from Ole Bull to Sara Mountain Soul,” 78. (Dec 02): Rev. of Un viaje mágico y misterio, by Cameron Thorp,” 23; rev. of Fred C. Fussell, Blue Merri Cyr, A Wished-For Song: A Portrait Zywina, 127. (Jun 04): Christophe Ridge Music Trails: Finding a Place of Jeff Buckley, 12; Laura Bligh and Holly Den Tandt, “From Craft to Corporate in the Circle, by Bob Buckingham, 53; Crenshaw, “The Song Lives On: Eva Interfacing: Rock Musicianship in the rev. of Wayne Erbsen, Rural Roots of Cassidy,” 74. (Jan-Feb 03): Bill DeMain, Age of Music Television and Computer- Bluegrass: Songs, Stories and History, by “Carlos Santana: What’s So Funny about Programmed Music,” 139; Griffin Mead Bill Hicks, 53; rev. of Nolan Porterffield, Peace, Love & Understanding?” 42. (Jul- Woodworth, “Hackers, Users, and Suits: ed., Exploring Roots Music: Twenty Years Aug 03): Bill DeMain and Abby White, Napster and Representation of Identity,” of the JEMF Quarterly, by Jon Pankake “The History of the Major Labels: A Look 161; Steve Jones and Amanda Lenhart, and Marcia Pankake, 54. at How the Labels Began and Where We “Music Downloading and Listening: Are Today,” 14; Bill DeMain, “Legends Findings from the Pew Internet and OPERA of Songwriting: Marvin Hamlisch,” 90. American Life Project,” 185; Debashis (Apr 04): Eric Myers, “Opera at Land’s (Nov 03): Kerry Doole, “Oh Canada!: “Deb” Aikat, “Streaming Violent Genres Edge [20th c. operas set in California],” An Insider’s Look at the Canadian Music Online: Visual Images in Music Videos 396. Scene,” 14. on BET.com, Country.com, MTV.com, and VH1.com,” 221; rev. of Michael Pitts THE OPERA QUARTERLY PHILOSOPHY OF MUSIC and Frank Hoffmann, The Rise of the (Sum 04): Rev. of James A. Pegolotti, EDUCATION REVIEW Crooners: Gene Austin, Russ Columbo, Deems Taylor: A Biography, by Eugene H. (Sp 03): Rev. of Derek B. Scott, ed., Bing Crosby, Nick Lucas, Johnny Marvin, Cropsey, 448. (Fall 04): Rev. of Armando Music, Culture, and Society: A Reader, by and Rudy Vallee, by W.K. McNeil, 252. Cesari, Mario Lanza: An American Eric Shieh, 90. (Oct 04): Heather McIntosh, “Music Tragedy, by William Albright, 721; rev. of Video Forerunners in Early Television Marilyn Horne w/ Jane Scovell, Marilyn PIANO TODAY Programming: A Look at WCPO-TV’s Horne: The Song Continues, by William (Win 05): Barbara Nissman, “Gershwin Innovations and Contributions in the Albright, 725. Meets Prokofiev: The Hidden 1950s,” 259; Andrea K. Newlyn, “The Connections,” 4. Power to Change: Gender Essentialism, OPERNWELT Identity Politics, and the Judds [Naomi and (Apr 04): Rev. of Andreas Jaensch, Leonard POPULAR MUSIC Wynonna],” 273; Edward G. Armstrong, Bernstein’s Music Theater: The Path to (Jan 04): Philip Auslander, “I Wanna “Eminem’s Construction of Authenticity,” American Opera, by Christoph Vratz, 18. Be Your Man: Suzi Quatro’s Musical 335; rev. of Robert Springer, ed., The (May 04): Volker Klotz, “Zarzuela: Aus Androgyny,” 1; Gillian Rodger, “Drag, Lyrics in African American Popular der Nähe in die Nähe,” 32. Camp and Gender Subversion in the Music, by Paul R. Kohl, 375. (Dec 04): Music and Videos of Annie Lennox,” Dale Carter, “‘What’s Still Left of My ORGANISED SOUND 17; rev. of Helena Simonett, Banda - Memory’: Recovery and Reorientation in (Aug 04): Phil Thomson, “Atoms and Mexican Musical Life Across Borders, the Songs of Van Dyke Parks,” 387; Ann Errors: Towards a History and Aesthetics by Augustin Fernández, 91; rev. of Garry Hetzel Gunkel, “The Polka Alternative: of Microsound,” 207; rev. of Simon Boulard, Louis Prima, by Bill Sweeney, Polka as Counterhegemonic Ethnic Emmerson, ed., Music, Electronic Media 99; rev. of W. Royal Stokes, Living the Practice,” 407; Marc Faris, “‘That Chicago and Culture, by Peter Nelson, 220. Jazz Life, by Bill Sweeney, 102. (May 04): Sound’: Playing with (Local) Identity Peter Hollerbach, “(Re)voicing Tradition: in Underground Rock,” 429; Stephen A. Improvising Aesthetics and Identity on King, “Blues Tourism in the Mississippi Local Jazz Scenes,” 155; Sheila Whiteley, Delta: The Functions of Blues Festivals,”
56 The Bulletin of the Society for American Music • Vol. XXXI, No. 3 455; Ian Inglis, “A Brief Life: Broken ‘Guajira’ Between Cuba and Spain: A Shoshoni Poetry Songs, by Michael Hearts and Sudden Deaths [subject of ado- Study in Continuity and Change,” 137; Cala, 115; rev. of John Charles Chasteen, lescent deaths in song lyrics],” 477; Mark Robert Stevenson, “Teresa Carreño National Rhythms, African Roots: The A. Fox and Paul Kochanowski, “Models (1853-1917) Remembered on Her 150th Deep History of Latin American Popular of Superstardom: An Application of the Anniversary,” 163; Robert Parker, Dance, by Derek Beres, 115; rev. of Lotka and Yule Distributions,” 507; rev. “Revueltas, the Chicago Years,” 180. Thomas A. McKean, ed., The Flowering of Michael T. Bertrand, Race, Rock, and (Sp-Sum 05): Mark Brill, “The Oaxaca Thorn: International Ballad Studies, by Elvis, by Mark D. Rubinfeld, 541; rev. of Cathedral ‘Examen de oposición’: The Danielle Drellinger, 116. (Sp 05): Joe Andreas Gebesmair and Alfred Smudits, Quest for a Modern Style,” 1; Margaret E. Hickerson, “The Songfinder: A Reader- Global Repertoires: Popular Music Dorsey, “Borderland Music as Symbolic Assisted Song Search Service,” 82; rev. of Within and Beyond the Transnational Forms of Nationalisms: ‘The Best of the Bob Dylan, Chronicles, Vol. 1, by Michael Music Industry, by Mel van Elteren, Texas Tornados,’ ‘Partners,’ and ‘¡Viva Tearson, 106; rev. of Bill Staines, The 542; rev. of Ethan Mordden, Open a Luckenbach!’” 23; David Butler Cannata, Tour: A Life Between the Lines, by Matt New Window: The Broadway Musical “Making It There: Piazzolla’s New York Watroba, 106; rev. of Kevin Donleavy, in the 1960s, by James Leve, 548. (Feb Concerts,” 57; Donald Thompson, “Film Strings of Life: Conversations with Old- 05): James Isaac Elliott, “From Demo Music and Community Development Time Musicians from Virginia and North to Hit: The Biography of Three Songs in Rural Puerto Rico: The DIVEDCO Carolina, by Tom Druckenmiller, 106; by Country Songwriter Tom Douglas,” Program (1948-91),” 102. rev. of Kip Lornell, The NPR Curious 3; Marco Katz, “Salsa Criticism at the Listener’s Guide to American Folk, by Turn of the Century: Identity Politics SING OUT! Derek Beres, 107; rev. of Gene Santoro, and Authenticity,” 35; Ryan Hibbett, (Sum 04): Matt Watrobs, “The Discovery Highway 61 Revisited: The Tangled “What Is Indie Rock?” 55; Kembrew String Band: Exploring Lewis and Clark,” Roots of American Jazz, Blues, Rock McLeod, “Confessions of an Intellectual 20; David Kupfer, “Rosalie Sorrels: and Country Music, by Michael Tearson, (Property): Danger Mouse, Mickey Passing the Good Stuff On,” 25; Scott 108; rev. of Ken Perlman, Everything Mouse, Sonny Bono, and My Long and Alarik, “Robin and Linda Williams: Home, You Wanted to Know About Clawhammer Winding Path as a Copyright Activist- Home on the Road,” 37; John Kruth, Banjo, by Tom Druckenmiller, 109. Academic,” 79; George Plasketes, “The “Townes Van Zandt: The Self-Destructive Grim and Grin Reaper in the Songwriters’ Hobo Saint,” 54. (Fall 04): Geoffrey SONUS Neighborhood: From A to [Warren] Himes, “Ollabelle: What a Friend They (Fall 04): Jon Newsom, “The Library of Zenon,” 95; rev. of Jean A. Boyd, We’re Have in Gospel Music,” 34; rev. of Wyatt Congress and Music in America,” 1. the Light Crust Doughboys from Burrus Tee Walker, Spirits That Dwell in Deep Mill and John Mark Dempsey, The Light Woods: The Prayer and Praise Hymns of STRINGS Crust Doughboys Are On the Air, by Don the Black Religious Experience, by Mary (Jan 05): David L. Godbey, “Music & Cusic, 112; rev. of John Connell and Chris DesRosiers, 106; rev. of Jerma A. Jackson, Musicians: Journey through the Past Gibson, Sound Tracks: Popular Music, Singing in My Soul: Black Gospel Music [Pierre Cruzatte, Lewis and Clark fid- Identity and Place, by Michael J. Kramer, in a Secular Age, by Michael Cala, 106; dler],” 30. (Apr 05): Rev. of Kevin 126; rev. of Allan Metz, ed., Blondie, from rev. of Michael John Simmons, Taylor Donleavy, Strings of Life: Conversations Punk to Present: A Pictorial History, by Guitars: 30 Years of a New American with Old Time Musicians from Virginia Mark Rubinfeld, 129. Classic, by Roger Dietz, 107; rev. of and North Carolina, by Stacy Phillips, 93. David Boucher, Dylan and Cohen: Poets (May 05): Andrew Bulbrook, “Touring the PSYCHOLOGY OF MUSIC of Rock and Roll, by Michael Tearson, Indian Nations: A String Quartet Explores (Oct 04): Rev. of P. Horden, ed., Music as 107; rev. of John August Schroeter, the Work of Young Composers on the Medicine: The History of Music Therapy Between the Strings: The Secret Lives of Reservations,” 38. Since Antiquity, by Gary Ansdell, 440; Guitars, by Roger Deitz, 108. (Win 05): rev. of R.D. Barnett and L.L. Burriss, Scott Alarik, “John Langstaff: A Man for STUDIA MUSICOLOGICA Controversies of the Music Industry, All Seasons,” 22; rev. of Lee and Joann (45/3-4 04): Rev. of Ian Russell and David by Andreas Gebesmair, 444; rev. of A. Murdock, Lake Rhymes: Folk Songs of the Atkinson, Folk Song: Tradition, Revival, Gebesmair and A. Smudits, eds., Global Great Lakes Region, by Mary DesRosiers, and Re-Creation, by Luzja Tari, 469. Repertoires: Popular Music Within and 112; rev. of Guido Van Rijn, The Truman Beyond the Transnational Music Industry, and Eisenhower Blues: African-American TENNESSEE FOLKLORE SOCIETY by Martin Pfleiderer, 447. (Apr 05): Rev. Blues and Gospel Songs, 1945-1960, by BULLETIN of Mimi Shippers, Rockin’ Out of the Box: Michael Cala, 112; rev. of Stephanie P. (60/3 04): Rev. of Tom Piazza, True Gender Maneuvering in Alternative Hard Ledgin, Homegrown Music: Discovering Adventures with the King of Bluegrass Rock, by Anja Resenbrock, 220. Bluegrass, by John Lupton, 113; rev. of [James Henry “Jimmy” Martin], 128. Bob Carlin, String Bands in the North REVISTA DE MÚSICA Carolina Piedmont, by Stephanie P. LATINOAMERICANA Ledgin, 113; rev. of Beverly Crum, Earl continued on page 63 (Fall-Win 04): Peter Manuel, “The Crum, and Jon P. Dayley, Newe Hupia:
The Bulletin of the Society for American Music • Vol. XXXI, No. 3 57 “Gershwin” continued from page 41 are complicit images involving a partner- ship between a number of America’s most perspicacious photographers and some highly creative American music person- alities who were concerned about their place in history." The exhibition is arranged in four sections: Champions of American Music, Great American Composers, Legends of American Jazz, and Icons of American Pop. The musicians have been captured in various poses and settings, from stu- dio shots and live stage performances to recording sessions. Mattis has pro- vided detailed accompanying text. Among the images are Life cover photographer Philippe Halsman’s portrait of Louis Armstrong; Rolling Stone photographer Annie Leibovitz’s creative images of Bob Dylan, Brian Wilson, and B.B. King; Art Kane’s A Great Day in Harlem – one of the most famous jazz images of all time; and a stunning portrait of the Eastman School of Music’s own Howard Hanson taken by the legendary Ansel Adams, with the reflection of a violinist appearing in the lenses of Hanson’s glasses.
LUKAS FOSS
Photo by Naomi Savage, American (b. 1927) 1949 Gelatin silver print Collection of Naomi Savage
"In putting together the exhibition Eastman made these two art forms central I looked for images by photographers to his life’s work." who were at least as well known as the The exhibit is available for touring subjects," Mattis explained. "For Sinatra through 2008. If your institution is inter- I chose Halsman. For Bob Dylan I chose esting in hosting it, please contact Olivia Annie Leibovitz. For Gershwin I chose Mattis at [email protected] or Steichen. I was not interested in snapshots Jeanne Verhulst, Director of Traveling nor in publicity shots. Rather, I looked for Exhibitions, George Eastman House, at images where the photographer and the [email protected]. The show is scheduled musician were engaged in a creative dia- for the National Heritage Museum in logue. There is a spark or an energy that Lexington, Massachusetts, April 14–Sept. is released when two creative forces come 16, 2006. JOHN PHILIP SOUSA together in a single artistic expression." Mattis’s goal in organizing the festival was Photo by Elias Goldensky, American (b. Russia, to honor the legacy of George Eastman by 1867-1943)ca. 1915 Gelatin silver print combining music and photography: "As Gift of 3M Company: ex-collection Louis Walton Sipley founder of the Eastman School of Music and of Eastman Kodak Company, George
58 The Bulletin of the Society for American Music • Vol. XXXI, No. 3 Bulletin Board
"Traditions" on WETA-FM 90.9. Info: who contributed feature articles. The Members in the News www.imtfolk.org. Magazine also includes a Project Profile on the Society-supported teaching guide, Carol Baron’s article "Efforts on Behalf Sondra Howe has recently published the Voices Across Time, lesson plans, and a of Democracy by Charles Ives and His following articles on American music: CD of related American music. The Table Family: Their Religious Contexts" was "Elsie Shawe, Music Supervisor in St. of Contents may be viewed at http://www. published in this past spring’s Musical Paul, Minnesota (1898–1933)" in Journal oah.org/pubs/magazine/. Quarterly. The article introduces materi- of Research in Music Education 52, als relevant for Ives’s biography that have no. 4 (Winter 2005): 32–42; "Women’s Allen Forte, Battell Professor of Music not been discussed previously. Participation in the NEA Department of Theory, Yale University, has been award- Music Education, 1884–1925," Journal of ed a Koerner Center Emeritus Fellowship, George Boziwick’s composition Historical Research in Music Education through the Yale Emeritus Center, for a Magnificat (for choir, organ, and congre- 26, no. 2 (April 2005): 130–43; and study of the songs of Cole Porter (Yale gational response) has been published by Review of Yankee Singing Schools and College ’13). The research will utilize the C. F. Peters. the Golden Age of Choral Music in New Porter collection in the Sterling Library England, 1760–1800 by Alan Clark at Yale, which contains valuable source Rob Haskins, who recently joined Buechner, Journal of Historical Research materials, and will result in an analytical University of New Hampshire as an in Music Education 26, no. 1 (October study of the historical development of assistant professor of music, read three 2004): 68–72. Porter's music and lyrics. papers on Cage this year at conferences Forte’s recording, Songs of Yesterday in Eugene, OR (SAM), Calgary, Alberta, Leonard J. Lehrman’s Marc Blitzstein: for Today: American Popular Songs of the and Manchester, UK. His recent pub- A Bio-Bibliography (645 pp.) is forthcom- Golden Age, arranged and accompanied lications on American music include a ing from Praeger Publishers (Greenwood by Forte and sung by Martha Bennett review of The Cambridge Companion to Publishing Group). Oneppo, has been released on Romeo John Cage in Music Theory Online 10/2 Records 7230 and can be ordered online (June 2004) and "Classical Musics in Ralph P. Locke, Professor of Musicology through amazon.com. Songwriters rep- the United States" (with William Kearns, at the Eastman School of Music (University resented are Arlen, Berlin, Carmichael, Steve Loza, Josephine R. B. Wright, and of Rochester) has published two articles Duke, Gershwin, Kern, Mandel, Porter, Ingrid Monson), in Music in the United dealing with American music: "The Border Raye & DePaul, Rodgers & Hart, States: An Introduction, ed. Ellen Koskoff Territory between Classical and Broadway: Schwartz, Van Heusen, and Warren. (New York: Routledge, 2005), 306–16. A Voyage around and about Four Saints in He performed Cage’s two-piano piece Three Acts and West Side Story," in Liber ICAS Fellowships Two2 (1989) with Laurel Karlik Sheehan Amicorum Isabelle Cazeaux: Symbols, "Rethinking the Social" is the theme for the at the University of New Hampshire in Parallels and Discoveries in Her Honor, International Center for Advanced Studies April 2005. ed. Paul-André Bempéchat (Hillsdale, at New York University for 2006–07. This NY: Pendragon Press, 2005), 179–226; is the third year of a larger project on the On July 9, 2005, Joe Hickerson was and "Nineteenth-Century Music: Quantity, Authority of Knowledge in a Global Age. presented the annual Excellence in the Quality, Qualities," Nineteenth-Century ICAS welcomes applications from schol- Traditional Arts Award by Walt Michael, Music Review 1 (2004): 3–41. The latter ars with Ph.D.’s from the U.S. and abroad Director of Common Ground on the Hill article deals in part with the relationship at all career stages in any social science or at McDaniel College in Westminster, between minstrel-show music and Italian humanities discipline. The project seeks Maryland. The event culminated the after- opera of the period (as seen in the beloved to examine the production, circulation, noon performances at Common Ground's song "In the Evening by the Moonlight"). and practical import of knowledge gener- annual American Music & Arts Festival at He is currently preparing for publication ated in the various disciplines of social the Carroll County Farm Museum. Info: two interviews with Aaron Copland from inquiry. What are the costs of the grow- www.commongroundonthehill.org. the early 1970s. ing divide between social science inquiry Joe will be celebrating his 70th and humanistic scholarship? What are the birthday with a concert at 7:30 p.m. The most recent issue of the Organization implications of the growing dominance of on Monday October 17, 2005, at St. of American Historians’ publication for K- U.S. based models of social inquiry for the Mark Presbyterian Church, 10701 Old 12 teachers, Magazine of History, is dedi- understanding of other cultures and for the Georgetown Road, Rockville, MD. The cated to “Teaching History with Music.” fundamental concepts of political experi- event is sponsored by the Institute of Guest editor, Mariana Whitmer, had ence and inquiry? The stipend is $35,000 Musical Traditions and will include an significant assistance from SAM mem- for nine months and includes eligibility interview with Joe by Mary Cliff, host of bers Deane Root and Joseph Horowitz, for NYU housing. Application deadline:
The Bulletin of the Society for American Music • Vol. XXXI, No. 3 59 January 6, 2006. See http://www.nyu.edu/ the ACLS Fellowship Competitions site at gsas/dept/icas for more information and http://www.acls.org/fel-comp.htm. The Society for American Music is application forms, or write to the center (fax: 212 995-4546; [email protected]). Call for nominations: Thelen Prize pleased to welcome these new members: The International Society for the ACLS 2005–2006 Fellowship and Grant Promotion and Research of Wind Music Student Members: Awards (IGEB) invites nominations for the 2006 The ACLS is pleased to announce the Thelen Prize competition. Beverly Wilcox, Davis, CA opening of the 2005–2006 competitions Established to commemorate Fritz Evan Rapport, Jackson Heights, NY for fellowships and grants. (Note: Only Thelen (1906–1993), one of the co-found- Matthew Sumera, Minneapolis MN those of relevance to scholars of American ers of IGEB, the Thelen Prize is awarded Jessica Schwartz, New York, NY music are listed here; most deadlines are to the writer of an outstanding dissertation Matt Sakakeeny, New York, NY 30 Sept., but consult website.) The central in the field of wind music research. In Anna C. Reidy, Hales Corners, WI ACLS Fellowships
60 The Bulletin of the Society for American Music • Vol. XXXI, No. 3 Conference Announcements
Call for Papers: Wind Music History Conference Proposals for papers, lecture-perfor- mances, and concerts are invited for an International Wind Music History Conference jointly sponsored by the International Society for the Promotion and Research of Wind Music (IGEB) and the Historic Brass Society, combined with a Vintage Band Music Festival in Northfield, Minnesota, July 27– August 1, 2006. This international symposium, with the theme "Away from Home: Wind Music as Cultural Identification," combines the research interests of the two organiza- CBMR Conference on tions. Papers focusing on the conference theme are especially invited, but papers Black Music Research on any aspect of wind music and research held jointly with the Society for American Music in progress are welcome. Presentations should not exceed 20 minutes, and will be considered for future publication in the March 15–19, 2006, Chicago Alta Musica series. Save the date! The conference will include research papers, lectures, demonstrations, informal playing sessions, public performances of The Westin Chicago River North, one of Chicago's historical wind music groups (such as premiere hotels, located 3 blocks from the Magnificent Civil War saxhorn bands, 18th-century Mile, will be the conference hotel. European Harmoniemusik ensembles, and • $135/night for single and double occupancy. ethnic brass bands), and a marketplace for sheet music, instruments, books, and • Special student rate of $135/night for triple recordings. and quad rooms ($35–45 per student per night). Proposals of no more than 250 words should be sent no later than January 1, 2006, to
Call for Papers: Interdisciplinary Conference on the Holocaust Bring your family and enjoy Chicago’s A conference on "Trajectories of Memory: museums, shopping, and cultural attractions. Intergenerational Representations of the Holocaust in History and the Arts" will be held at Bowling Green State University in Don’t miss this exciting conference! continued on page 62 Details available at the SAM website: www.american-music.org
The Bulletin of the Society for American Music • Vol. XXXI, No. 3 61 “Conferences” continued from page 61 “Bulletin Board” continued from page 60 Bowling Green, Ohio, on March 23–26, Kelpius Community Receives the music of the community along with 2006. Scholars are sought across academic other entries. disciplines (history, literature, musicology, Historical Marker The weather was fair in June of 1694 The new Kelpius Society has already visual and musical arts, political science, attracted a number of German schol- religious studies, philosophy, psychology when a disparate group of immigrants from Germany, Switzerland, Sweden, and ars and translators, architects, archaeolo- and sociology) to present new research on gists, and musicians. The Society hopes explorations of the effect of the Holocaust Transylvania established a Pietistic com- munity along the banks of Philadelphia’s to dispel some of the myths and folklore on the present and on the ways in which associated with the original settlement, the present understands, defines and/or Wissahickon creek. The weather was sunny in April of 2004 when a historical and to publish material showcasing new represents that past. Possible issues to research. The first publication will be a consider include: the evolution of the marker was dedicated at the site. In April of 2005 the new Kelpius Society became new translation of A Method of Prayer Holocaust as discourse; how to negoti- attributed to Johannes Kelpius. The origi- ate the language of the Holocaust as fully incorporated and tax-exempt. The marker is an official Pennsylvania nal German text was long thought to be survivors die, leaving future generations lost, but its recent resurfacing will allow a responsible for the vocalization of their historic marker made possible through a generous grant of the Pennsylvania new translation, currently being prepared memories; the limits of acceptable dis- by Kirby Richards, Ph.D. The second pub- course when discussing the Shoah; how Historical and Museum Commission and the Kelpius Commemorative Marker lication of the Society will be a work on survivors of perpetrators and bystanders The Music of the Wissahickon Community navigate feelings of guilt and responsi- Committee. Today the three members of the Committee are the new officers of the by Lucy Carroll, DMA. Dr. Carroll has bility; how survivors talk to each other given presentations to the Society for and to their children. Keynote speakers Kelpius Society, dedicated to restoring the site and researching its history and American Music on both the Kelpius will be Marianne Hirsch (Comparative settlement as well as the Ephrata Cloister. Literature, Columbia University), Leo personalities. The leader of the 1694 settlement was Anyone interested in the Kelpius Society Spitzer (History, Columbia University), is invited to visit their website at http:// and Atina Grossmann (History, Cooper Johannes Kelpius (Johann von Kelp). The group established an observatory (George kelpius.home.att.net or email Dr. Carroll Union, New York University). at kelpius @att.net. Please send abstracts of individual papers Washington later acquired the telescope); (1–2-pages) and/or complete panel pro- a school, botanical garden, orchard, and posals (with 3 presenters and a commenta- a Tabernacle or meeting house. Later tor) by October 15, 2005, to the following (1700) member Dr. Christopher Witt built individuals according to subject area: a small pipe organ. The group had sev- History: Beth Griech-Polelle, bgriech@ eral musical instru- bgnet.bgsu.edu ments, including German literature and film: Christina at least two virgin- Guenther, [email protected] alls from the King Theater: John Sebestyen, johnsebe- of Sweden. There [email protected] remain two manu- English literature and film: Ramona scripts of origi- Dunckel, [email protected] nal song texts in Music: Marilyn Shrude, mshrude@bgnet. German. One man- bgsu.edu, and Mary Natvig, mnatvig@ uscript includes bgnet.bgsu.edu music with origi- Music, grad and undergrad student ses- nal harmonizations sions: [email protected], blan- and perhaps two [email protected] original melodies All other topics and additional informa- as well. A third tion: Beth Griech-Polelle, bgriech@ music book from bgnet.bgsu.edu, and Christina Guenther, the Lehman family [email protected] includes some of
From left, Marker Committee members Lucy E. Carroll, DMA, Dorothy Pinktt, noted architect/ restorer Alvin Holms, and Rhonda Cohen of the PA Historical and Museum Commission.
62 The Bulletin of the Society for American Music • Vol. XXXI, No. 3 “SRAR” continued from page 57 Art of the States: Bringing ings, which are organized thematically US Music to the World and accompanied by notes on the music, composers, and performers. These are THE TRACKER shipped to interested radio producers (Fall 04): Agnes Armstrong, “Name That An outgrowth of WGBH’s musical in 53 countries, who themselves pro- Tune, or What Music Was Gomph Playing exchange with the European Broadcasting duce programs based on this material in When McKinley Was Shot?” 19. (Win Union, Art of the States has been expand- their own language and broadcast style. 05): Matthew M. Bellocchio, “History, ing audiences for United States-based In 2002, Art of the States launched a Heritage and Hope,” 5. (Sp 05): James M. composers and performers since 1993 website that offers high-quality audio Stark, “The Art Organ Company of New through its international radio music dis- streams, extensive program notes, and York,” 13. tribution service. The service has been links to related websites of composers, collecting performances and recordings performers, publishers, and record labels. THE VOICE OF CHORUS of a wide range of music from all across As of this writing the current feature is AMERICA the U.S., focusing on new, unusual, and Southern nineteenth-century music. See (Fall 04): Kelsey Menehan, “We Have lesser-known repertoire. Selected works http://www. artofthestates.org. Had Singing: The Legacy & Lessons of are presented in monthly program offer- the Dale Warland Singers,” 18. VOICES: THE JOURNAL OF NEW YORK FOLKLORE (Fall 04-Win 05): Susan Hurley-Glowa, “The Survival of Blackface Minstrel Shows in the Adirondack Foothills,” 22; “In the Minstrel’s Words,” 27; Revell Carr, “‘We Will Never Forget’: Disaster in 2006–2007 American Folksong from the Nineteenth Charles Warren Center FELLOWSHIPS Century to September 11, 2001,” 36; for rev. of Thomas A. McKean, ed., The Studies in American History Flowering Thorn: International Ballad Studies, by Lee Haring, 47. Cultural Reverberations of Modern War WESTERN FOLKLORE The Charles Warren Center invites applications from scholars of the arts, (Fall 03): Rev. by Bill Ellis of books on ethnic and gender studies, and history, to participate in a workshop laborlore: Richard A. Reuss, American considering the relevance of modern war to American culture and artistic Folk Music and Left-Wing Politics, 1927- expression. When the state declares others enemies, what happens to national self-understanding and artistic motivation? How does 1957; Joe Glazer, Labor’s Troubadour; international conflict realign Americans’ cultural interactions with other Archie Green, Tin Men, 293; rev. of Bill nations? The period from the 1890s to the 1950s will provide a focus for C. Malone, Don’t Get Above Your Raisin’: these questions. This era saw the most massive destruction of human Country Music and the Southern Working lives by state intention in human history. Yet it was also a time of Class, by Rosemary M. Killam, 297. unprecedented technological advance, absorbing the impact of telephone, cinema and photograph, radio and television, automobile and airplane. It WOMEN OF NOTE QUARTERLY witnessed exceptional cultural dynamism and innovation amidst acute (8/4 02): M.L. Corbin Sicoll, “Segregation, apprehension and despair. Sexism, Sexuality and Spirituality in the Best Selling Songs of Summer 1998: Fellows participate in a seminar led by Nancy Cott (History) and Carol Impediments to Creativity?” 16. Oja (Music), presenting their own work and discussing that of invited speakers. Applicants may not be degree candidates and should have a Ph.D. or equivalent degree. Fellows are University members with library access, and receive a private office which they must use for at least the 9- month academic year. Stipends are individually determined in accordance with the needs of each fellow and the Center’s resources. Applications are due in the Center by January 15, 2006; decisions will be announced in early March. Obtain an application from the Center (Emerson 403, Harvard University, Cambridge, MA 02138) or from our web site. Phone: 617.495.3591 • Fax: 617.496.2111 [email protected] • www.fas.harvard.edu/~cwc
The Bulletin of the Society for American Music • Vol. XXXI, No. 3 63 A wa r d s o f t h e S o c i e t y Irving Lowens Memorial Awards Student Travel Grants Further information is available at the The Irving Lowens Award is offered by Grants are available for student members website (www.american-music.org) or by the Society for American Music each who wish to attend the annual conference contacting the SAM office. year for a book and article that, in the of the Society for American Music. These judgment of the awards committee, makes funds are intended to help with the cost H. Earle Johnson Bequest for Book an outstanding contribution to the study of travel. Students receiving funds must Publication Subvention of American music or music in America. be members of the Society and enrolled at Self-nominations are accepted. Application a college or university (with the exception This fund is administered by the Book deadline is February 15th. of doctoral students who need not be Publications Committee and provides formally enrolled). Application deadline is two subventions up to $2,500 annually. January 1. Application deadline is November 15th. Wiley Housewright Dissertation Award Mark Tucker Award Non-Print Publications Subvention This award consists of a plaque and cash award given annually for a dissertation The Mark Tucker Award is presented at This fund is administered by the Non- the Business Meeting of the annual SAM Print Publications Committee and provides that makes an outstanding contribution to American music studies. The Society conference to a student presenter who has annual subventions of approximately written an outstanding paper for delivery $700-$900. for American Music announces its annual competition for a dissertation on any topic at that conference. In addition to the relating to American music, written in recognition the student receives before the English. Application deadline is February Society, there is also a plaque and a cash 15th, for dissertations completed between award. 1 January and 31 December of previous year.
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 Pittsburgh, PA Stephen Foster Memorial Permit No. 5636 University of Pittsburgh 4301 Forbes Ave. Pittsburgh, PA 15260
Change Service Requested
Printed in USA
64 The Bulletin of the Society for American Music • Vol. XXXI, No. 3