the Saint-Gaudens and resided in the colony during the summer of 1901. Harvey Worthington Loomis wrote music for the children’s play The Woodland Princess pro- duced in 1916 at the Plainfield, New Hampshire town hall. Several other musi- cians visited or stayed in the colony includ- The Bulletin ing Whiting’s good friend, composer Horatio Parker. Violinists Franz Kneisel and Otto Roth of the Kneisel String Quartet, OF THE S OCIETY FOR A MERICAN M USIC America’s first fully professional string quar- tet, frequently gave recitals in Cornish, often FOUNDED IN HONOR OF O SCAR G. T. SONNECK accompanied by Whiting. Why had I never before heard of or per- formed any works by the above-mentioned Vol. XXIX, No. 1 Spring 2003 composers, often referred to as the “Boston school” or “second New England genera- Hidden American Treasures: tion”? I had been performing orchestral music since I was a child. During the The Cornish Colony Composers American bicentennial our ensemble per- formed several American chamber music by Fern Myers programs at colleges, libraries, and schools. We showed the development of American My earliest contact with the Cornish idents and Cornish was the “talk of the music by performing compositions of Colony was through family friends who town” in New York and Boston. Cornish Johann Peter, John Antes, Ben Franklin, purchased sculptor Herbert Adams’s became the summer White House from Francis Hopkinson, William Billings, Plainfield, New Hampshire estate in 1947 1913-1915 during the Presidency of Patrick Gilmore, and Jacob Kimball. Other thereby acquiring some of his sculptures. I Woodrow Wilson as Mrs. Wilson, an artist, music presented was by Charles Griffes, can vividly recall the busts of “Flora” and and her daughters enjoyed the camaraderie Arthur Foote, Amy Beach, and G.W. “Bacchus” adorning pedestals outside the and social life of the colony. Chadwick, as well as Earle Brown, Samuel studio. Returning to Saint-Gaudens Music and drama played an important Barber, Aaron Copland, Walter Piston, National Historic Site in 1997 for a perfor- and stimulating cultural role in the life of the Charles Ives, George Gershwin, Virgil mance with SilverWood, I was stimulated to colony. Formal dinner parties and teas were Thomson, and Ruth Crawford Seeger. learn about the Colony. Since my childhood often followed by tableaux vivants presenta- Sadly, the Cornish composers, once collec- the home, studio, and gardens of sculptor tions, charades, plays, and speech recitals. tively dismissed as Germanic and academic, Augustus Saint-Gaudens had been given a There were concert series and many famous were neglected and their names and music new life, thus attracting tourists from all over musicians of the day performed in Cornish. fell into obscurity. Until recently I was sim- the world. The sculptures surrounded by Outdoor amphitheaters were constructed ply unaware of these composers. One reason pastel palettes of phlox, delphinium, and for plays and pageants with original music was that their music was in manuscript (now hollyhocks enclosed by evergreen hedges written for such productions. Theatrical badly deteriorating) or lying in dusty out-of- were a joy to the eye and soul. A neighbor productions were often elaborate and most print repose in the bowels of American introduced me to Footprints of the Past: members of the colony participated in some archives. Today, music by these composers Images of Cornish, New Hampshire and the way. Ethel Barrymore spent the summer of rarely makes it to the concert arena or Cornish Colony, a book by Virginia Colby 1906 in Cornish and coached the children recording studio. and James Atkinson. Within are humorous of the colony in Thackeray’s The Rose and With help from the music librarians at anecdotes, first-hand accounts, and biogra- the Ring. In 1905 America’s first pageant, A Dartmouth College, I located a score of phies of many colony residents and visitors. Masque of “Ours” the Gods and the Golden Whiting’s music for The Golden Cage, a I became passionately interested in the sub- Bowl was performed to honor Augustus dance pageant with verse by William Blake. ject and the people. Saint-Gaudens’s 20th year in the colony; After laboriously creating orchestral parts, The Cornish Colony was America’s first members of the Boston Symphony per- Whiting’s pageant was performed on the art colony, established in 1885 with the formed original music. magnificent stage set designed in 1916 for arrival of sculptor Augustus Saint-Gaudens. The central musical figure in the The Woodland Princess by Cornish Colony Unlike other artist colonies, such as the Cornish Colony was pianist and composer artist Maxfield Parrish (1870-1966). Some MacDowell Colony in Peterborough, New Arthur Whiting (1861-1936) who lived in of Whiting’s music was so moving I wanted Hampshire, Cornish was never officially the colony from 1893 until 1918. Whiting to hear more. The next discovery was organized but rather evolved as prominent composed music for the Saint-Gaudens Polonaise, opus 20, no. 5, an immediately artists, writers, and musicians from Boston, pageant and other special colony events. appealing work that I decided to record in New York, and Philadelphia acquired or Walter Damrosch, Frederick Shepherd 2001 for our album At Fox Meadow. The rented properties in Plainfield and Cornish, Converse, Arthur Farwell, and John Tasker CD is named after Walter Damrosch’s New Hampshire. Artists were attracted to Howard also worked in Cornish. Several col- Sonata for Piano and Violin, opus 6, the fea- the natural beauties of the area and the fel- laborated on pageants with Cornish resident tured work on that album along with lowship of their colleagues. Mount Ascutney Percy MacKaye, poet and dramatist. Sidney Frederick Shepherd Converse’s Suite for the became the focal point and symbol of the Homer and his wife Louise, contralto with Pianoforte, opus 2. In 2002 we recorded colony. At its height there were over 400 res- the Metropolitan Opera, were relatives of continued on page 2 Hidden American Treasurers Times Joseph Horowitz examined pre-World continued from page 1 War I American composers and works pro- Call for Papers Whiting’s challenging work for piano, Suite grammed by Stephen Mayer for his all- Society for American Music Moderne, opus 15 on the album, Dawn, American piano recital at Mannes College of subtitled “American Treasures by Cornish Music. The headline was: “An American Era Annual Conference, Colony Composers.” Also featured are three in Music Deserving of More Respect.” The March 10-14 works by Arthur Farwell: Dawn, opus 12; caption read: “It is said that the country’s Cleveland, Ohio Roses and Lilies, opus 7, for piano (per- music came of age with Copland, after formed on harp); and Gods of the Mountain, World War I. Conventional wisdom, how- The Society for American Music invites opus 52, Suite for Harp, Violin and ever, can be wrong.” In a recent program proposals for papers, concerts, lecture-perfor- Violoncello. The latter was also orchestrated aired on National Public Radio, JoAnn mances, full panels of 3 or 4 papers, and by Farwell and recorded by the Royal Falletta, music director of the Buffalo other useful events for its 30th annual con- Philharmonic in 1965. Philharmonic, discussed her recent discovery ference in Cleveland, March 10-14, 2004. After several years of research, with an of Frederick Shepherd Converse and the This will be a joint meeting with the inordinate amount of hunting and digging, recording of three of his works. Other musi- Association for Recorded Sound Collections. it is exhilarating to perform music that has cians may discover more American treasures, Ideas for papers and sessions could be not been heard for a century! We have per- some of which were composed in New inspired by any of the following: formed Converse’s String Quartet in A Hampshire’s Cornish Colony. • the proximity of the Rock and Roll minor, opus 18 twice now and found it to be Once the music is heard it will speak for Hall of Fame interesting, exciting, and well written. The itself and be judged accordingly. Given a • the sesquicentennial of John Philip quartet features each instrument, even the chance, surely some of this forgotten music Sousa’s birth viola! It is understandable why Converse was will become standard repertoire giving joy to • the question of theorizing American described in the 25 May 1909 Boston Globe both artists and audiences. music studies as “the greatest living composer.” • the collaboration with ARSC Today, the destiny of these composers Fern Meyers, M.S., has performed as a members seems more hopeful. The Scarecrow Press, freelance musician in Washington, DC, Boston But proposals involving any aspect of Inc. has recently published the series and the New England states. Ms. Meyers American music or music in America are Composers of North America, including taught at the New England Conservatory welcome. biographies of Farwell and Converse. These North Shore Extension and the NSCC Center books are useful references for performers as for the Arts. ‘Cellist with several orchestras and they contain catalogues of works with their ensembles, she currently performs with Guidelines present locations. Gradually music is being SilverWood, USA. Ms Meyers has recorded two Individual or joint papers should be no resurrected and there are some interesting audio stories for children and recently produced longer than twenty minutes. Performances new recordings featuring some of the previ- At Fox Meadow and Dawn; American should be no longer than thirty minutes and ously mentioned composers. It was exciting Treasures by Cornish Colony Composers. These may include a short lecture component. to hear Chadwick’s Symphony no. 3 in F may be purchased at Amazon.com, CDBaby, Presenters do not need to be members of the (1894) performed on 31 January 2003 by the or ordered through Borders Books and Music. Society, but are required to register for the Boston Symphony Orchestra as Converse, Also, they may be purchased by sending a check entire conference. Performances are not Farwell, Homer, and Whiting were his or money order (in the amount of $12.00) to remunerated. The committee encourages pupils. The Chadwick symphony had not Harmony Hill at P.O. 349 Etna, NH 03750. proposals from persons who did not present been performed by the B.S.O. since 1914! For questions or comments please contact Fern at the 2003 meeting in Phoenix, but all pro- In the 14 July 2002 issue of the New York Meyers at: [email protected]. posals will be considered and judged primar- ily on merit. The Bulletin of the Society for American Music How to submit a proposal 1. Send six copies of your proposal, only The Bulletin is published in the Winter (January), Spring (April), Fall (September), and one of which includes your name, Winter by the Society for American Music. Copyright 2003 by the Society for American address, phone, and email address. The Music, ISSN 0196-7967. other five copies should have no such identifying information. The proposal Editorial Board should be no longer than 350 words, Interim Editor ...... Mariana Whitmer ([email protected]) and it should include mention of any Bibliographer ...... Joice Waterhouse Gibson ([email protected]) audio-visual needs. 2. Proposals for performances without a Indexer ...... Amy C. Beal ([email protected]) lecture component should include six Items for submission should be addressed to Mariana Whitmer, Society for American Music, copies of a 100-word abstract and six Stephen Foster Memorial, University of Pittsburgh, Pittsburgh, PA 15260. All materials copies of an audio CD. Again, only one should be submitted in printed copy, on floppy disk, or as attachment to of each should contain identifying infor- e-mail. Photographs or other graphical materials should be accompanied by captions and mation. CDs will not be returned. desired location in the text. Deadlines for submission of materials are December 15th, March 3. For complete sessions or proposals 15th, and August 15th. continued on page 19

2 The Bulletin of the Society for American Music • Vol. XXIX, No. 1 R EPORT FROM THE C ONFERENCE

Mike Seeger for unlocking the mysteries and complexities time music, and sparked an interest in old- Named Honorary Member for 2003 of the bluegrass banjo style. time music that continues to this day. Just as the musical traditions of rural As bluegrass became more widely Again, once the string band revival was safe- southerners are rich, deep, and varied, so too known and appreciated, Mike turned much ly in high gear, Mike delved ever deeper into have been the life, career, and contributions of his time and attention to earlier forms of the older layers of southern folk music, of our foremost champion of southern folk music. In 1958, Mike, John Cohen, and beginning to play gourd banjo and quills, music—Mike Seeger. And, just as southern Tom Paley (later replaced by Tracy Schwarz) and continuing his field work with older tra- rural music has had an impact on the larger founded the New Lost City Ramblers, a ditional musicians, both black and white. musical world in ways untold, Mike Seeger’s band devoted to recreating the sounds of the Mike has been equally tireless as an edu- influence has been broad and pervasive in classic southern string bands. The NLCR more ways and on more levels than probably gave many people their first exposure to old- continued on page 4 even he realizes. One is hard-pressed to single out any one of Mike’s activities as being more impor- The Society for American Music tant than the others. As a performer, he has The Society for American Music promotes research, educational projects, and the dissemination of toured the world for over four decades. information concerning all subjects and periods embraced by the field of music in American life. Through these performances he has not only Individual and institutional members receive the quarterly journal American Music, the Bulletin, and the annotated Membership Directory. Direct all inquiries to The Society for American Music, Stephen Foster entertained audiences with his singing and Memorial, University of Pittsburgh, Pittsburgh, PA 15260; (412) 624-3031; [email protected]. his playing, but he also inspired countless Officers of the Society, 2002-2003 others to try their own hand at picking up a President ...... Carol Oja guitar, or fiddle, or banjo…or any other of Past President ...... Paul Wells the seemingly endless number of instru- Vice President ...... Ron Pen ments that he plays. Mike’s playing appears Secretary ...... R. Allen Lott on nearly forty albums, either as a solo artist, Treasurer ...... George Keck with other members of his family, with vari- Members-at-large ...... George Boziwick, Mary DuPree, Denise Von Glahn, Josephine Wright, Susan Key, Gayle Murchison ous collaborators, or as a member of the Editor, American Music ...... David Nicholls seminal modern string band, the New Lost Executive Director ...... Mariana Whitmer City Ramblers. Five of these albums have Conference Manager ...... James Hines been nominated for Grammy awards. Standing Committee Chairs: Mike also has been one of the leading Finance: William Everett; Long-Range Planning: Paul Wells, Development: Ann Sears, Honors and recorders and collectors of southern folk Awards: Dale Dockrell, Dissertation 2002: Vivan Persli, Dissertation 2003: Susan Key, Mark Tucker Award: music. His field recording activities have led Nym Cooke, Membership: Karen Bryan; Conference Site Selection: Kay Norton; Nominating: Katherine to the production of more than thirty Preston; Public Relations: Liane Curtis; Book Publications Subvention (Johnson Bequest): Denise Von Glahn, albums. These albums have brought the Non-Print Subventions: Kip Lornell, Silent Auction: Dianna Eiland; Publications: Paul Wells; Website Editor: Larry Worster music of such master traditional musicians as Elizabeth Cotten, Dock Boggs, Sam & Appointments and Ad Hoc Committees: ACLS Delegate: Dale Cockrell; Archivist: Susan Koutsky; Committee on Publication of American Kirk McGee, Fiddlin’ Arthur Smith, Eck Music: Judith McCulloh; US-RILM Representative: Denise Von Glahn; Registered Agent for the District Robertson, Kilby Snow, Lesley Riddle, the of Columbia: Cyrilla Barr Lilly Brothers, Roscoe Holcomb, Wade Interest Groups: Ward, and countless others to public atten- American Band History: Susan Koutsky; American Music in American Schools and Colleges: James V. tion, often for the first time. Worman; Folk and Traditional Music: Ron Pen; Gay/Lesbian/Bisexual/Transgendered: David Patterson; Although I suspect that Mike might shy Gospel and Church Music: Roxanne Reed; Music of Latin America and the Caribbean: John Koegel; Musical away from the label of “scholar,” he certain- Biography: Stuart Feder; Musical Theatre: Anna Wheeler Gentry; Popular Music: Kirsten Stauffer Todd, ly has contributed enormously to our Philip A. Todd; Research on Gender and American Music: Liane Curtis; Research Resources: George knowledge and understanding of southern Boziwick; Early American Music: David Hildebrand; 20th Century Music: David Patterson; Historiography: Michael Pisano rural music. In the 1950s Mike was one of the first people from outside the south to Electronic Resources emerge as an advocate for bluegrass music. Listserv: [email protected] Mike’s 1957 production, American Banjo Website: http://www.american-music.org Scruggs Style, an anthology of the playing of fifteen different banjo players, is recognized Annual Conferences 30th Annual Conference: 10 March – 14 March 2004; Cleveland, Ohio as the first long-playing album devoted to Rob Walser, Program Committee Chair bluegrass. The chapter on Scruggs-style Mary Davis, Local Arrangements Chair picking that Mike contributed to his broth- er Pete’s influential banjo instruction book November is AMERICAN MUSIC MONTH gave many aspiring players their first tools

The Bulletin of the Society for American Music • Vol. XXIX, No. 1 3 R EPORT FROM THE C ONFERENCE continued from page 3 time Michigan faculty member. The teach- ing the purview of earlier musicological ing career he launched there in 1950 took organizations, practices, and patronage to cator, working with students from elemen- him in 1961 to Hunter College, and a include America’s music making. The fore- tary school through college and graduate decade later to Brooklyn College of the City most architect of that effort, one could school. At present he is in the middle of a University of New York, from which he argue, was H. Wiley Hitchcock, whose cos- semester-long residency at the College of retired in 1993 as a CUNY Distinguished mopolitan interests and scholarly example William & Mary that is, by all accounts, an Professor. Having earned his spurs as a brought credibility to a field largely ignored enormous success. scholar of baroque music, he has continued in humanistic circles before that time. Much more could be said of Mike working in that field, with important publi- For all his institutional contributions, Seeger and his work, but the point should cations on the music of Charpentier and Hitchcock’s writings—his performances as now be clear. Performer, collector, scholar, Caccini. Through more than four decades scholar and critic, we might say—crown the educator, producer, promoter, and advocate. in the classroom, he served several genera- legacy that today’s award celebrates. Fiddler, banjo player, guitarist, mandolinist, tions of students as a polished, demanding, Whether in books, editions, articles, liner singer, autoharp, mouth harp, trump, quills, musically insightful teacher of subjects rang- notes, program notes, or critical commen- and dulcimer player. Mike is all of these. ing from the middle ages to the Ann Arbor tary (especially on new music), these writ- But perhaps what he really is at bottom is a ONCE Festivals, and beyond. ings reflect a consciousness fully engaged farmer, of sorts. He has sown seeds that have Teachers earn their keep by fostering the with music itself. To read Hitchcock on taken root and borne fruit in myriad ways work of others, and H. Wiley Hitchcock’s music is to enter into the experience of a over half a century. Mike often refers to the record as a mentor of graduate students is responsive, historically informed music lover sounds and styles that have been at the cen- especially distinguished. Beyond the semi- who has mastered the craft of writing. His ter of his life’s work as “music from true nar room, and Hitchcock’s writing of letters textbook Music in the United States: A vine.” Mike’s own music has long been one of recommendation, which by now must Historical Introduction, written for the of the strongest branches on this vine, and have passed a thousand, if our profession Prentice-Hall series, and now in its fourth has produced such a wealth of offshoots that were to create the title of Chevalier of edition, has introduced many readers to the he can be sure the vine will grow and pros- American Music Infrastructure, Wiley subject since its first publication in 1969. per for generations to come. would win it hands down. A list of his The book’s generous use of musical exam- —Paul Wells achievements on the institutional front ples, and vivid accounts of how pieces would have to start with his founding and sound, make the image of Hitchcock at H. Wiley Hitchcock leadership of the Institute for Studies in work ring true when, in the preface, he Recipient of the Lifetime Achievement American Music at Brooklyn College (1971- salutes the “cheerful sufferance” of his wife Award 93), and his editorship of half-a-dozen Janet for enduring many years “of my hum- important projects: (1) The New Grove ming, whistling, singing, playing through, Today marks the first time the Society Dictionary of American Music (with Stanley and listening to three and a half centuries of for American Music has conferred its Sadie, published in 1986),(2) the Prentice American music.” Lifetime Achievement Award on a Chevalier Hall History of Music Series (beginning in As Wiley’s eightieth birthday approach- of the Ordre des Arts et des Lettres. We are not 1965), (3) A-R Editions’ Recent Researches es, a long-term enterprise of his is soon to talking here about a pretender, like the fake in American Music series (beginning in appear in print: a critical edition of 129 king and the bogus duke in Mark Twain’s 1976), (4) Da Capo Press’s Earlier American songs by Charles Ives. With hints of fresh, Huckleberry Finn, but a true Knight of the Music series (beginning in 1972), (5) the ambitious projects in the wind, and in Order of Arts and Letters, so declared by the ISAM monograph series (beginning in recognition of a life lived in intimate liaison government of France to honor individuals 1976), and (6) the ISAM Newsletter (1971). with music—European music as well as who do cultural work of rare distinction. He served as president of the Music Library American—the Society for American Music While H. Wiley Hitchcock would not be Association (1966-67), the Charles Ives is pleased to present its Lifetime one to parade such a title, his earning of it Society (1973-92) and the American Achievement Award for 2003 to H. Wiley offers members of this society a chance to Musicological Society (1990-92), and he Hitchcock. reflect on a fruitful, highly productive, truly organized festival-conferences on Charles —Richard Crawford cosmopolitan career. Ives (with Vivian Perlis in 1974) and the Born in Detroit, Michigan, Wiley centennial of the phonograph (with Rita Jean Geil attended Dartmouth College and served in Mead in 1977). He also served on the edi- the U.S. military during World War II. The Recipient of the Distinguished Service torial boards of New World Records, found- Award postwar years found him studying music in ed in 1975 by the Rockefeller Foundation, We honor today Jean Geil, who has the Paris with Nadia Boulanger and musicology and of Music of the United States of distinction of holding the record for serving in Ann Arbor at the University of Michigan. America, or MUSA (1982-2000). As this the most number of years as secretary of the By 1954, when he finished his Ph.D. with a list will suggest, the infrastructure that began Society for American Music (1975-1983). dissertation on the sacred music of Marc- to take shape around 1970 did so by extend- Antoine Charpentier, he was already a full- Surely, anyone who has written that many

4 The Bulletin of the Society for American Music • Vol. XXIX, No. 1 R EPORT FROM THE C ONFERENCE minutes, particularly in the wild, early days Crawford, for his landmark opus, America’s Black music research in particular, and of the Sonneck Society, deserves the Musical Life: A History, published by W. W. American music research more generally. He Distinguished Service Citation, but Jean also Norton & Company. Crawford’s work is a convincingly establishes the sources of his has served as a member at large on the Board remarkable achievement that demonstrates ideas in related fields of inquiry, including of Directors and on many committees in the his mastery of almost every aspect of Black literary theory, cultural studies and more staid recent years as well. She was American music. This largely chronological European cultural theory, anthropology, Lowens award Chair in 1985, and on the overview of some five hundred years is rich feminist studies, the Black arts movement, committee again in ’92, Chair of in historical, cultural, and musical context. and American studies, applying them expert- Membership from 1988-92, RILM repre- Writing in a vivid style that is both elegant ly to musicology and music theory, and not sentative from 1993-97, and served in and straightforward, Crawford has con- neglecting music analysis. The issues he rais- countless other roles as a hard-working structed a meaningful and cogent narrative es touch on the core of our identities as peo- member: nominating, exhibits, bibliogra- of America’s musical history. ple–our individual social identities of genera- phy, 10th anniversary—you name it and His clear distinction between “perform- tion, gender, geographical region, class, cul- Jean has done it! ers’ music,” such as a song interpreted by tural knowledge and preferences, and most Jean has a moderate, soft speaking voice, thousands of different people in their own evidently race–and how these affect us as well adapted to the library reading room way, and “composers’ music” that is general- members of society and as scholars. where she served for so many years, but her ly performed according to instructions in the Ramsey’s two-part agenda for his essay is reserved manner hides a radical intellect and composer’s score, elegantly cuts across the first, to encourage “more black scholars [to a fiendish sense of humor. There is not a standard defining, and limiting, genres of enter] the academic music fields generally radical or new idea adopted by the Society “folk,” “popular,” and “classical.” This is a and black music research specifically,” not- that did not originate or at some point incu- sophisticated interpretation, and one that ing that “true diversity [in the profession] bate in her feverish mind. Even if credit also offers a way to bridge the “gap” that will mean a change in what counts as valu- assuredly would be given to someone else, emerged between “classical” and “popular” able knowledge in our professional discours- one could be sure that Jean was behind in the last half of the twentieth century. es.” Second, he opens up discussion on an much that was new. In the broader arena of Rather than emphasizing such disjunctions admittedly “more contentious topic: the role American music her soprano voice and her and incongruities, he recognizes coherence of white scholars in the new black music perfect pitch have supported the work of throughout American musical history, dis- criticism.” He argues for creating more pub- numerous American composers and the cerned as well through his insights into the lications “that, while acknowledging white musical life in the community in relationships between music and religion, privilege, move into theorizing other areas of Champaign-Urbana, Illinois as well as all politics, and social movements. By this white lived experience that will shed light on live singing events at SAM meetings. SO means he also sustains the musical threads of the complex reception histories of black today we honor Jean Geil with the Society many cultural origins throughout the fabric music.” Guy Ramsey’s essay is a profound for American Music’s Distinguished Service of the work. and challenging contribution, and therefore Citation: for her elected service to the In our age of fractured families and cul- deserving of not only the widest possible Society, for forty years of American music tures and intense academic criticism of reading, but also the highest recognition making, and for her discrete rabble-rousing American society, it is truly inspiring when a from the Society through its Irving Lowens which has contributed to the continued historian makes sense of this country’s rich Prize. vitality of this Society. diversity. Richard Crawford has written an —Deane Roote (ed. Catherine Smith) —Gillian Anderson engaging and nuanced survey of American (ed. Anne Dhu McLucas) music that will set the standard for genera- Wiley Housewright Dissertation Award tions of readers. The Society for American Music awards SOCIETY FOR AMERICAN —Mary Wallace Davidson MUSIC AWARDS the Wiley Housewright Dissertation Prize for 2001 completions to Elyse Carter Vosen 2002 Lowens Book Award 2002 Lowens Article Award for “Seventh-Fire Children: Gender, The Irving Lowens Book Award honors The 2002 Lowens Article Award is pre- Embodiment, and Musical Performances of authors of works that make outstanding sented to Guthrie P. Ramsey, Jr. for “Who Decolonization by Anishinaabe Youth” contributions to American music studies. Hears Here? Black Music, Critical Bias, and (University of Pennsylvania). In this study This year members of the committee com- the Musicological Skin Trade,” Musical of music and education among Anishinaabe prised Jennifer DeLapp, D.W. Krummel, Quarterly 85 (2001):1-52. As the lead article (Ojibwe) young people in northern Michael Pisani, the late Marjorie Mackay in the Spring, 2001 issue of Musical Minnesota, the author uses her impressive Shapiro, and Mary Wallace Davidson Quarterly, Guy Ramsey’s probing essay is a linguistic skills along with extensive field- (Chair). This year’s award, chosen unani- pivotal statement concerning “the relation- work to explore the role of native cultural mously from the wide range of excellent ship of scholars to the work they do.” This performance in the service of decoloniza- books on American music published in the essay establishes Ramsey as one of our lead- year 2001, is presented to Richard A. ing thinkers and writers on the nature of continued on page 6

The Bulletin of the Society for American Music • Vol. XXIX, No. 1 5 R EPORT FROM THE C ONFERENCE continued from page 5 the Library of Congress and the Archive of lively dialogue with the audience of forty- American Folksong, died on July 19, 2002 five Society members, addressing topics such tion—overcoming the legacy of cultural vio- in Sarasota, Florida, at the age of eighty- as the difficulties and dangers of collecting, lence to assert indigenous values and prac- seven….Like Walt Whitman, Alan Lomax Lomax’s choice of subjects, his work with tices in order to “heal Anishinaabe teenagers’ heard America singing. Through his lifelong prisons, his “outsider” status in academia, fragmented subjectivity as a remaking of the efforts he ensured that people everywhere and more. The session proved to be a most self.” It contributes to an understanding of could share that priceless heritage of music delicious hors d’oeuvre prior to the entrée of education, gender, popular culture, and and song.” (Folklife Center News XXIV:3 the Lomax Conference sponsored by dance. It also offers a direct and refreshing p.12) Institute for Studies in American Music look at relationships between scholars and “Seeing Alan Lomax’s obituary on the scheduled for April 9, 11, 12 at CUNY. the music-makers they study. front page of the New York Times irked the —Respectfully submitted by A member of the prize committee called hell out of me. Harry Smith syndrome all Ron Pen, Chair of the the dissertation “wholly convincing, respect- over again—the Great White ‘Discoverer’ as Folk/Traditional Music Interest Group ful, informative, and eloquent.” Another the axis of cultural genesis. Lomax, wrote read the nearly 50-page introductory chap- Jon Pareles, ‘advocated what he called ‘cul- Research Resources Interest Group ter without a break, carried along by the nar- tural equity: the right of every culture to The Research Resources Interest Group rative, the argument, and the prose. Vosen’s have equal time on the air and equal time in convened on Thursday February 27. study stands as a reminder of music’s capac- the classroom’ He did? Even sticking to the George Boziwick reported on the newly ity everywhere to do important cultural blues, Lomax cut a dubious figure. As a vet- acquired American Music Center collection work and of American music scholarship’s eran blues observer wrote me, ‘Don’t get too of scores and recordings by The New York ability to engage a wide range of readers. caught up in grieving for Alan Lomax. For Public Library. His remarks focused on the Members of the committee were Karen every fine musical contribution that he fifty years of partnership activities between Ahlquist (chair), Amy Beal, David Brackett, made, there was an evil, venal manipulation the two institutions and the efforts that led Ellie Hisama, and Kip Lornell. of copyright, publishing and ownership of to the acquisition of the collection. In addi- —Karen Ahlquist the collected material.” (Mr. Big Stuff by tion there was a brief description of the cen- Dave Marsh circulated to the SAM list ter’s NewMusicJukebox, (http://newmusic INTEREST GROUP REPORTS 7/25.02 by Andrew Homzy) jukebox.org/) an electronic library and infor- The Folk and Traditional Music Interest Sacred Harp Sing mation database of scores, and recordings of Group sponsored the panel “An Avenue for The Folk and Traditional Music Interest its composer/members. People to Tell Their Story: The Legacy of Group sponsored the annual Sacred Harp The IG session concluded with the Alan Lomax” on Saturday morning. Singing on Thursday evening from 6-7:30 annual round robin discussion of reports Following the riveting performance by the PM. The joys of participatory communal from various institutions and scholars on Jones Benally Family (an event that Lomax music making bound members of the new acquisitions, research projects or publi- would have enjoyed—and probably Society in harmony as we shared old cations, and other news. George Boziwick attempted to document), the panel, chaired favorites such as Wondrous Love and Idumea will be stepping down as coordinator. While by Ron Pen convened. Participants Kip but also successfully navigated more chal- there appears to be an interested successor, Lornell (George Washington University and lenging works such as Murillo’s Lesson and no name has yet been officially put forward. Smithsonian), Anne Dhu McLucas Billings’ Rose of Sharon. With about forty Finally a petition to renew the IG for anoth- (University of Oregon), and Mike Seeger singers, the Rio Salado room surged with er term was submitted by the coordinator to (noted performer and collector of tradition- powerful sound. Annual events such as the the Board of Directors. al music) examined the various facets of Sacred Harp Singing and the SAM Band —Submitted by George Boziwick Lomax’s rich and complex career. Lornell performance nurture a palpable sense of noted that he and Charles Wolfe (co- community in our midst. authors of The Life and Legend of Leadbelly) Historiography Interest Group Please allow me to publicly acknowledge eventually arrived at a much more balanced the generous gift of Kitty Keller and Ron This year’s session as planned, with and nuanced appreciation of Lomax’s Pen who donated sixteen Sacred Harp books speakers Dale Cockrell and Joseph Horowitz, alleged copyright issues with the song to the Society for use in the annual singing. was amended when Dale had to cancel his “Good Night Irene.” McLucas spoke to —Respectfully submitted by trip to Tempe due to a family emergency. Lomax’s work with cantometrics and noted Ron Pen, Chair, This left Joe the entire fifty minutes to discuss how valuable Lomax’s contributions were Folk/Traditional Music Interest Group some of the principal ideas embodied in his despite the ethnocentric descriptions of tim- forthcoming history from W. W. Norton, a bre. Seeger pointed out the grand scope of 200,000-word study of classical music in the Folk and Traditional Music Interest Lomax’s contributions and commented that United States. The session was very well Group “when he stubbed his toe, it was a very big attended by some seventy members. Joe’s “Alan Lomax, the legendary folklorist stub.” talk—which generated some controversy whose name is inextricably connected with Subsequently, the panel engaged in a and a lively discussion—argued for writing

6 The Bulletin of the Society for American Music • Vol. XXIX, No. 1 R EPORT FROM THE C ONFERENCE such a book, and the planned table of con- concern for the human condition. We Three very different topic areas were high- tents provided the structure for his talk. Joe thanked Ruth Lomon for joining us and for lighted. Horowitz is both a scholar of American offering insights on her powerful music and John Graziano delved into patriotism as music as well as a producer and presenter of the experiences that it emerges from. he explored musicals written by African- concerts. In addition to his several books and —Submitted by Liane Curtis American composers and lyricists, including articles, nearly all of which in some way The Shoo-fly Regiment (1907) by Cole and touch upon concert life in the United States, Early American Music Interest Group Johnson, and How Newton Prepared (1916) Joe has first-hand experience with profession- by Tutt and Whitney. Graziano stated that The Early American Music Interest al orchestras in this country. He argued for with sheet music sales booming, World War Group session was chiefly focused on Kate the need to demonstrate how America’s atti- I gave black writers opportunities to publish Van Winkle Keller’s report on the Francis tude toward classical music over a roughly patriotic songs such as Henry Creamer and Hopkinson manuscript forgeries. She two-hundred year period is reflected in the Turner Layton’s “Good-bye Alexander, reviewed the auction sale announcements profile of its orchestras and its concert life. Good-bye Honey-boy” and Lester Walton and the process by which she, Gillian —Submitted by Michael Pisani and C. Luckey Roberts’ “Billy Boy,” and Anderson, and Deane Root became Maceo Pinkard’s “Those Draftin’ Blues,” involved in the identification of the alleged “He’s Had No Lovin’ For A Long, Long Gender and Music Interest Group manuscripts as fakes. Through the SAM Time,” and “Dixie Is Dixie Once More.” The Gender and Music Interest Group listserv other members of the Interest Group The interesting link to Noble Sissle and his Session featured a discussion with composer helped in the process, identifying some service in the military is James Reese Europe, Ruth Lomon. Through the wisdom of the pieces and observing the lack of 18th-centu- who led the 369th Infantry “Hellfighters” Program Committee, this took place imme- ry hallmarks on others. Keller showed over- during the war. “All Of No Man’s Land Is diately after the performance of singing, cer- heads of some of the material the forger used Ours,” written by Sissle and Europe, cele- emonies and dance by the Navajo Jones- from the Liberty Minstrel Songster (1845), brates the pride of the returning black sol- Benally family. Lomon is a (part-time) resi- the University of Chicago Songbook (1920), diers. Graziano wrapped up his observations dent of New Mexico, and much of her and Anton Rubenstein’s Melody in F (1852)! by highlighting campaign songs by Cole and music (particularly of the 1970s and 1980s) A highlight was the playing of a midi file of Johnson (“You’re All Right, Teddy”) and is inspired by Native American culture and an 1888 piece, note for note as the forger Sissle and Blake (“I’m Just Wild About Navajo ceremonials. The previous night’s wrote it out, found recorded electronically Harry”). concert at ASU had included Lomon’s work on a hymn-tune site. Jeff Magee stirred up conversation and Imprints, a concerto for piano and four per- We expressed concern that the auction rebuttal regarding Irving Berlin’s ever-patri- cussionists (who play a wide range of instru- house had not consulted those of us knowl- otic themes throughout his lengthy career. ments ranging from tympani and marimba edgeable about 18th-century American While Magee spoke of Berlin’s roots and sin- to aluminum foil). Imprints was inspired by music before putting the manuscripts up for cere passion for all things American, he Lomon’s observance of a Navajo Peyote cer- sale and that no one had looked at the music linked the composer/lyricist’s compulsion emony. She described her experience of the critically. Of double concern is that we toward patriotic topics as often expressed ceremony (which lasted an entire night) in found that not only had these same docu- through minstrelsy. With Berlin’s vast reper- our discussion. Pianist Lisa Ehlers (M.A. ments been offered for sale in the 1930s and toire of songs and musicals, Magee chose to candidate in the ASU piano program) gave a declared forgeries, but that the authenticity cite both visual and musical examples deal- striking performance of two movements of of other items now in libraries as ing with patriotism and minstrelsy from Lomon’s Five Ceremonial Masks for Piano Hopkinson, Tayler, and Carr autographs stage (including Annie Get Your Gun and (from the Navajo Yeibichai Ceremonies). need to be questioned. Call Me Madam) and film musicals (includ- The movements were “Clown” and Later in the conference, the IG members ing Holiday Inn, White Christmas, and “Changing Woman,”—the Jones-Benally met to sing songs from Sonneck’s time, and Follow the Fleet). family had included “Changing Woman” in realized that 2005 is the anniversary of his As Paul Laird made clear, 1776 was writ- their performance, so the resonances of major American bibliographies—the con- ten by a former history teacher. Sherman Lomon’s music with its Navajo catalysts were ference in Eugene would be an appropriate Edwards took his classroom to the musical beautifully evident. Lomon also talked place to celebrate our original namesake’s theatre stage. Laird stressed that 1776 was about her more recent work setting poetry of accomplishments. written and composed during the turbulent the Holocaust, and we listened to a track —Submitted by Kate Van Winkle Keller 1960s, forcing American’s to learn about the from her recent CD, “Songs of birth of our nation during a time when Remembrance” (on the CRI label). The dis- Music Theatre Interest Group many protested its policies. George M. cussion was animated and Lomon was asked Stimulating and timely discussions arose Cohan’s musicals once defined patriotism, if there was a connection between her inter- as a result of the 2003 Music Theatre but 1776, as Laird pointed out, avoided sim- est in Native Americans and the Holocaust. Interest Group meeting/panel session enti- ple flag-waving, bringing to the forefront She replied that her publisher (Arsis Press) tled “Patriotism in the American Musical.” understands the connection to be Lomon’s continued on page 8

The Bulletin of the Society for American Music • Vol. XXIX, No. 1 7 R EPORT FROM THE C ONFERENCE continued from page 7 was observed for departed members. Mary Davis, Chair of the Local Various officers and committee chairs Arrangements Committee for the confer- Edwards and Stone’s allegiance to historical presented reports. A statement of the ence to be held 10-14 March 2004 in facts and sources, a literate book, and an Society’s financial condition was distributed Cleveland, enticed members to attend the engrossing score. Laird continued by citing by Treasurer George Keck, who noted that meeting by stating that it will be held in a four marches (“Sit Down, John,” “Piddle, the Society’s finances are in very good condi- four-star downtown hotel near shopping Twiddle and Resolve,” “The Egg,” and “The tion, especially considering the current state and dining; events planned include a recep- Lees of Old Virginia”) with the latter having of the stock market. He also observed that tion and tour of the Rock and Roll Hall of a decidedly eighteenth-century flair. Laird the student travel fund receives the highest Fame and tours to University Circle, home noted that the orchestrations recall the amount of restricted donations. His report to a variety of concert halls and museums, sounds of a Baroque or Classical orchestra, was accepted as distributed. The Chair of including the Polka Hall of Fame. Rob another important element validating this the Nominating Committee, Deane Root, Walser, Chair of the Program Committee, work and it’s historical accuracy. thanked those who had agreed to stand for encouraged members to submit abstracts for —Submitted by Anna Wheeler Gentry office and reported the results of the recent the Cleveland conference, the Society’s 30th election: Ron Pen was elected Vice annual conference; the committee is espe- President, George Keck was re-elected cially interested in proposals for innovative SUMMARY OF THE Treasurer, and Susan Key and Gayle events and for sessions inspired by the 150th ANNUAL BUSINESS MEETING Murchison were elected Members-at-Large anniversary of Sousa’s birth and the meet- The 2003 business meeting of the of the Board. ing’s location near the Rock and Roll Hall of Society for American Music was called to David Nicholls, editor of American Fame. Proposals should be submitted by order by President Paul Wells at 4:16 p.m. Music, informed members that they should August 15. Because the Cleveland confer- on Saturday, March 1, 2003, at the Phoenix have received all four issues of volume 20, ence will be a joint meeting with ARSC Sheraton Hotel in Tempe, Arizona. A sum- his first as editor. He noted the increasing (Association for Recorded Sound mary of the 2003 Annual Business meeting number of high quality articles that have Collections), Kip Lornell, president of the in Lexington, Kentucky (published in the been submitted to the Journal. The first Washington, D.C., chapter of ARSC and a Summer 2002 Bulletin and distributed at meeting of the editorial advisory board was SAM member, spoke on the appropriateness the meeting) was accepted without correc- held in Tempe during the annual confer- of the two societies meeting together, espe- tion. ence; he plans to increase the board’s mem- cially as ARSC becomes increasingly inter- In remarks during his last business meet- bership to twenty due to the increase in sub- ested in American music and vernacular ing as President, Wells stated that it had been missions. music. a privilege and a pleasure to lead the Society Wells complimented Karen Bryan, Anne Dhu McLucas, Chair of the Local and working closely with such great people Chair of the Local Arrangements Arrangements Committee for the 2005 had made his tenure one of the finest peri- Committee, for the splendid arrangements annual conference, invited members to ods in his life. He reflected on the friendly of the Tempe conference and presented her Eugene, Oregon, a green paradise an hour spirit of the Society that had first welcomed with a plaque. He noted the active involve- from the sea and an hour from snow-cov- him and had encouraged a whole generation ment of Arizona State University in provid- ered volcanoes with an unusually high per- to move from students to active participants. ing receptions and concerts, remarking it centage of musical activity per capita. Kay He noted that 20% of the papers presented was a model for the role of a host institution. Norton, Chair of the Conference Site at the conference were given by students, a Bryan welcomed members on behalf of Selection Committee, reported that her sign of the Society’s good health and the Wayne Bailey, director of the School of committee will attempt to approve future increased acceptance of American music. Music at ASU, and thanked members of her conferences further in advance. She asked He encouraged members not to be so con- committee (Sabine Feisst, Richard Haefer, that if anyone “harbored a dream” of hosting cerned about the academic process that they Alexander Lingas, Kay Norton, Linda Pohly, a conference to contact her or a member of lose their passion for the music, which is Blase Scarnati, and Madeline Williamson) as her committee (Johann Buis, Jennifer essential. well as Conference Manager Jim Hines, DeLapp, and Dan Goldmark), who can Society members who had died during Executive Director Mariana Whitmer, and provide them with a template for submitting the past year were remembered, including President Wells for their support. Wells also a letter of invitation that promises institu- Marjorie Mackay Shapiro (with remarks by presented a plaque to the Chair of the tional support. Paul Wells); Lou Harrison, an Honorary Program Committee, Catherine Parsons Denise Von Glahn, Chair of the Book Member of the Society (remarks by Leta Smith, for her work on providing an excel- Publication Subvention Award Committee, Miller); Eileen Southern, a recipient of the lent program. Smith acknowledged the announced three recipients who were award- Lifetime Achievement Award (remarks by work of her committee members (Tammy ed subventions for forthcoming books: Tim Josephine Wright); and Allen Britton, a Past Kernodle, John Koegel, Leta Miller, and Brooks, Blacks and the Birth of the Recording President of the Society and the founding Rob Walser) and thanked those who had Industry, 1890-1919 (University of Illinois editor of American Music (remarks by submitted abstracts and those who had Press); Liane Curtis, A Rebecca Clarke Reader Richard Crawford). A moment of silence served as chairs and respondents. (Indiana University Press); and Leta E.

8 The Bulletin of the Society for American Music • Vol. XXIX, No. 1 R EPORT FROM THE C ONFERENCE

Miller, Lou Harrison (University of Illinois Auction that helps fund student travel, per- TREASURER’S REPORT Press). formed a skit with Allen Lott to encourage CALENDAR YEAR 2002 Judith Tick, standing in for committee bidding and thereby support student travel. chair Nym Cooke, presented the Mark Mark Clague invited members to attend Society for American Music Tucker Award for best student conference Criss Cross: Conversations about America’s George Keck, treasurer paper to Jewel A. Smith of the University of Music, a symposium in honor of Richard 3 February 2003 Cincinnati College-Conservatory of Music Crawford to be held at the University of The Society for American Music contin- for her paper, “Educational Philosophy in Michigan, 18-19 April 2003. ues to be in good financial condition. The Nineteenth-Century American Female Wells stated he had had pleasure in total balance of all accounts is down from Seminaries: Music and the ‘Ideal of Real working with many great people in the last year but not as much as anticipated tak- Womanhood’.” Karen Ahlquist, Chair of Society and thanked retiring officers, Board ing into account the difficulties experienced the Wiley Housewright Dissertation Award members, and committee chairs: Larry this past year in all investment markets. Committee, reported that the committee Worster, Vice President; Michael Broyles Although interest and dividends declined, had received fifteen submissions from a wide and Linda Pohly, Members-at-Large of the membership renewals and contributions are variety of disciplines. She presented the Board; Anne McLucas, Honors; Deane consistent with previous year. Income was award to Elyse Carter Vosen for her disserta- Root, Nominating; Marilynn Smiley, slightly higher than the total budgeted. tion, “Seventh-Fire Children: Gender, Membership; Karen Ahlquist, Wiley Expenses were four per cent higher than Embodiment, and Musical Performance of Housewright Dissertation Award; Catherine budgeted. Decolonization by Anishinaabe Youth,” Parsons Smith, Lowens Article Award; Mary completed at the University of Pennsylvania; Wallace Davidson, Lowens Book Award; 1996 ...... $258,208.32 Vosen eloquently thanked her advisors and Denise Von Glahn, Book Publication 1997 ...... $261,777.97 the Society for warmly welcoming her to Subvention Award; Dale Cockrell, 1998 ...... $276,629.58 join the conversation. Catherine Parsons Publications Council; and Homer Rudolf, 1999 ...... $272,878.19 Smith, Chair of the Lowens Article Award Public Relations. 2000 ...... $293,859.73 Committee, presented the award to Guthrie Wells passed the gavel “with pleasure” to 2001 ...... $295,062.99 P. Ramsey, Jr. for his article “Who Hears incoming President Carol Oja. Oja thanked 2002 ...... $270,380.91 Here? Black Music, Critical Bias, and the Wells for the professional leadership he had Musicological Skin Trade,” The Musical provided the Society, always with fairness The following contains more detailed Quarterly 85 (2001): 1-52. Mary Wallace and generosity, and presented him an information about the Society’s finances Davidson, Chair of the Lowens Book Award engraved clock on behalf of the Society. Oja during 2002: Committee, presented the award to Richard acknowledged Karen Bryan once again for Crawford for his book America’s Musical her virtuoso performance as Local 1. Statement of Financial Condition (dis- Life: A History (W. W. Norton, 2001). Arrangements Chair and thanked Mariana tributed to the membership at the Crawford observed that the book was a Whitmer for all the work she does through- Business Meeting) result of collaboration, because so many out the year as Executive Director of the 2. Restricted Funds Summary Society members had influenced his think- Society. She remarked on the Society’s abil- 3. Account Balances ing and writing. ity to nurture youth and diversity and to Judith McCulloh presented the provide an environment of emotional Distinguished Service Award to Jean Geil, warmth and intellectual interchange. continued on page 10 who reflected on thirty years of collegiality Oja announced new committee chairs with Society members. Carol Oja presented and appointments: Maja Trochimczyk, the Lifetime Achievement Award to H. Book Publication Subvention Award; Wiley Hitchcock, who was deeply honored Howard Pollack, Lowens Book Award by the award and modestly stated he had (2003 publications); Susan Key, Wiley been a very lucky man throughout his career. Housewright Dissertation Award (2003 Wells presented Mike Seeger as an Honorary completions); Karen Bryan, Membership; Member of the Society. Seeger reflected on Dale Cockrell, Honors; Liane Curtis, Public the musical influence of his parents and early Relations; Katherine Preston, Nominating; memories of listening to a variety of music and Larry Worster, Web Editor. and closed with an impromptu performance The meeting was adjourned by accla- on the jaw harp. mation at 5:53 p.m. Under new business, Wells reported on the Board’s decision to increase the total of student travel awards to a maximum of $5,000 depending on availability of fund- ing. Dianna Eiland, Chair of the Silent

The Bulletin of the Society for American Music • Vol. XXIX, No. 1 9 R EPORT FROM THE C ONFERENCE continued from page 9

STATEMENT OF FINANCIAL CONDITION Society for American Music Year Ending 31 December 2002 GENERAL FUND Income Dues ...... $52,620.50 Transfer from Life Membership Fund ...... 1,800.00 Interest/Dividends ...... 2,600.68 Contributions ...... 1852.00 Conference Profit ...... 8,590.00 Directory Ads ...... 200.00 RILM Donations ...... 250.00 Mailing List Sales and Postage ...... 539.32 Postage Refund ...... 113.00 Royalties ...... 109.47 TOTAL INCOME ...... $68,674.97 Expenses I. PROGRAM American Music ...... $33,946.51 Bulletin ...... 6,861.95 Directory ...... 2,559.11 Outreach ...... 4,457.77 TOTAL PROGRAM ...... $47,825.34 II. MANAGEMENT Executive Director ...... $11,040.23 Office ...... 2,834.87 Board ...... 4,689.45 Treasurer ...... 490.00 Management Services ...... 2,471.37 Fees and Miscellaneous ...... 1,664.01 TOTAL MANAGEMENT ...... $23,189.93 TOTAL EXPENSES ...... $71,015.27 INCOME MINUS EXPENSES: $(2,340.30) RESTRICTED FUNDS SUMMARY Lowens Memorial $18,531.43 Non-Print Publication Subvention $21,154.92 H. Earle Johnson Fund $112,433.25 Housewright Dissertation Endowment $13,344.29 Student Travel Endowment $19,086.96 Life Membership Fund $22,928.21 Mark Tucker Award Fund $2,720.00 Elizabeth McNamee CCH Grant $841.00

TOTAL FOR RESTRICTED FUNDS: ...... $211,040.06

ACCOUNT BALANCES Merrill-Lynch Operating Account ...... $15,484.15 Endowment Accounts ...... 253,701.36 Citizen’s Bank ...... 1, 195.40 TOTAL ACCOUNT BALANCES ...... $270,380.91

10 The Bulletin of the Society for American Music • Vol. XXIX, No. 1 R EPORT FROM THE C ONFERENCE

PRESIDENT’S REMARKS This speaks well not only of the contin- mate knowledge of—and love for—the This is my final time to stand before you ued health of the Society for American music that they write about. as president of the Society for American Music, but also of the place of American Our academic culture places an enor- Music. As my time in office winds down music in the academy. Anyone who has mous amount of faith in the Ph.D. Getting and I prepare to pass the duties on to Carol paid any attention at all to the academic job the “union card” is seen as the be-all and Oja, I want to take this opportunity to go market in recent years knows that more end-all. While this situation is not likely to into reflective mode for a bit. often than not universities that are hiring change any time soon, it is worth reflecting First, let me say what a tremendous priv- musicologists are seeking Americanists. This on to be sure that we are not putting too ilege and pleasure it has been to lead this is a far cry from the academic climate in much emphasis on process while neglecting society for the past two years. My time in which this society was conceived, when to content. When I talk to someone with a office seems like it has been both an eyeblink say that American topics were “marginal- doctorate, who is teaching about country and an eternity, but it has unquestionably ized” would have been a huge overstate- music at a university in the Nashville area, been one of the finest periods in my life. To ment. and I have to explain what WSM is—the have had the chance to work closely with so Surely this is cause for much rejoicing. radio home of the Grand Ole Opry—and many great people in so many different However, with this increased acceptance of where to find the station on the radio dial, ways, has truly been a blessing. American music have come fresh challenges. something clearly is wrong. Consider also It is sobering to think that I have now University music departments now expect to that I stand before you as president of the moved into the ranks of SAM veterans. I be able to hire musicologists who can teach Society for American Music, with nearly 30 still often feel like the newbie who went to students about blues, rock ‘n’ roll, jazz, coun- years of experience as a scholar of American his first Sonneck Society conference in try music, and traditional folk music, in music, yet am ineligible to apply for any cur- Pittsburgh in 1987, knowing hardly a soul. addition to teaching the canon of Western rent teaching position in an American uni- The fact that I went home from that meet- art music—and, by the way, maybe a course versity because I lack the essential creden- ing with a collection of new friends and col- in world music as well. This is a tall order. tial—the Ph.D. leagues, people who remain some of my Can any one person really be expected to I hope that we never lose sight of the fact closest friends and colleagues to this day, says teach Mozart, Monk and Monroe? Bach that what is really important in our sphere is a lot about the spirit and soul of this organi- and The Boss? passion for the music, and a desire to feed zation. We seem to be producing a generation of this passion and to share it with others. This As I and others of my generation have musicologists who are confident that they is what gave birth to our society, and is what made the transition from being the Young can, but my inner geezer often tells me that keeps me going. Turks of the society to being the ones something is amiss. While I see, hear and entrusted with its leadership, it has been talk to many students who are writing their extremely satisfying to witness the continued dissertation on, say, country music or rock influx of new waves of young scholars com- because they are following their own hearts ing along behind us. I have been around the and interests, at least as often I get the sense society long enough now to have seen a that someone is pursuing a topic in vernacu- Paul F. Wells whole generation of people make the transi- lar or popular music simply because these tion from student member to experienced are now the “hot” areas, and that they are participant, and every year we welcome an working in this vein simply to improve their ever-larger contingent of new folks to our chances in the job market. I have great fears conference. It is worth pointing out that this that we may be turning out people who have year approximately 20% of the papers on all the intellectual tools and training that the program were given by students. anyone could hope for, but who lack inti-

The Bulletin of the Society for American Music • Vol. XXIX, No. 1 11 C OMMUNICATIONS

More on Rayner vs. honour of your name as a subscribe /to Mr. Taylor was the oldest, and Raynor… an Anthem I am publishing; (particulars certainly one of the ablest profes- of which are mentioned in an advertise- sors of music in this city. He was To the Editor: ment to the Federal Gazette.) which will particularly celebrated for his With apologies for writing to you twice in much oblige Sir/ your most obedient admirable performance on the succession, I would like to assure Myrl Servant/ Rayner Taylor/ No. 96 Octr29/ Organ, but disease and the infir- Duncan Hermann that Rayner Taylor’s bap- 96 North Sixth Street/ between Arch mities of age had deprived the tismal record has indeed been discovered and and Race Streets/ Philadelphia.” Society and the public of his great that it confirms J. Bunker Clark’s conclusion 3. A holographic document: “To the Right musical talent. There is nothing in about the spelling of his first name. Taylor was Rev. The Rector, Church Wardens and the present case which can make baptised at St. Anne, Soho, Westminster, on Vestry of St. Peters Church, it indelicate to mention, that we 29 November 1747, with the name Rayner, Philadelphia/ The Remonstrance of have had the happiness to witness which was the last name of a Yorkshire family Rayner Taylor Organist of said in the person of our late venerable prominent in the London theater world of Church/…solicits an increase of Salary member, a striking proof of the the time. No surviving document coming as you in your Judgement….may deem benefits to be derived from our from Taylor himself uses “Raynor,” though sufficient for the services of your faithful/ musical Fund. The claim upon other people have often substituted this more and obedt. Servant./ 14th Septbr. 1813. this Institution supported him in intuitive spelling. So I hope this rather unim- Rayner Taylor./ Philadelphia,/ No. 62 comfort during the last years of portant question can now be put to rest. New North 6th above Arch Street. his life, and was his only resource. information about Taylor and his ancestry Since the article was first published The Society has erected over his will appear in my forthcoming book, Bound information from that indefatigable and grave a plain monument with the for America: Three British Composers accurate researcher, P. William Filby has following inscription: (University of Illinois Press). located Rayner Taylor’s name in passenger In memory of and immigration lists. See P. William Filby. Rayner Taylor Sincerely, Passenger and Immigration Lists Index, Vol. A distinguished Professor of Music, Nicholas Temperley III (Detroit: Gale Research, 1981), p. 2079; And many years as well as his Philadelphia Naturalization Organist of St. Peter’s Church, To the Editor: Records (Detroit: Gale Research, 1982), p. Who departed this life I take full responsibility for first writing 649 which lists Rayner Taylor as becoming a August 17th 1825 that the “R” in R. Taylor” stands for Rayner citizen on 10-06-1809. In the 78th year of his age. in my article “Rayner Taylor,” American Additionally, the manuscript minutes of This tribute of respect Music, Vol. I, No. 3 (Fall 1983), 48-71. I the Musical Fund Society now in Special Is erected by the Musical should like to remind readers that therein I Collections, Van Pelt-Dietrich Library, Fund Society of Philada presented the following evidence: University of Pennsylvania, clearly and unequivocally gives the first name of the I hope my information will end the 1. Richard Snaggs. The New Musical and questioning. Universal Magazine, Vol. I (1774-1775), composer as “Rayner.” On page 159-60 it is p. 33. Try Me, O God [anthem for three written: “The Society has lost one of its Sincerely, voices] “Set by Mr. Rayner Taylor for the Victor Fell Yellin Musical Magazine.” most venerable members, by the 2. A holographic letter to William death of Rayner Taylor which Bingham: “Sir. I beg leave to solicit the occurred on the 17th August last.

12 The Bulletin of the Society for American Music • Vol. XXIX, No. 1 R EMEMBRANCES

Memorial Minutes for Eileen Jackson the way he would have wanted: on his way sonic beauty in an era when such ingenu- Southern to a major festival of his music at Ohio State; ousness was out of fashion. (“Melody is the The society mourns the passing of Eileen he collapsed from heart failure and was gone audience’s take-home pay,” he’d quip.) Jackson Southern, a founding member of within moments. Before mid-century he experimented with the organization and a 2000 recipient of its Harrison was born on 14 May 1917 in (and then rejected) serialism and dissonant Lifetime Achievement Award. Eileen Portland, Oregon, but his family moved to counterpoint, eventually finding his distinc- Southern received her Ph.D. in historical California in 1926 and lived in various cities tive voice in melodicism and pentatonicism. musicology in 1961 from New York in the San Francisco Bay Area. During his His generosity in his personal dealings was University where she completed her disserta- seven years in San Francisco after high legendary: one rarely left his house without a tion on “The Buxheim Organ Book” under school, he encountered the major influences book, a CD, a head full of new ideas, and the supervision of Gustave Reese. that would govern his musical style: percus- one of his bear hugs. As dancer Mark Morris Her pioneering Music of Black sion, including found and invented instru- observed, “Either you’ve never heard of Lou Americans: A History (1971) challenged ments; modern dance; Chinese opera; and Harrison or you were his best friend.” musicologists to rethink myths and stereo- gamelan, which he first heard on Treasure —Leta Miller types about the musical contributions of Island in 1939. He also met Henry Cowell, African Americans and inspired several gen- perhaps the most pervasive influence in his Allen Perdue Britton erations of researchers to enter that field of life, who encouraged his explorations of Allen Perdue Britton, who died last research. She co-founded and edited from non-Western musics and his forays into month at age 88, was a musicological 1973-91 with her husband, Joseph junkyards and hardware stores in search of Americanist before that category existed. Southern, Black Perspective in Music, the first novel percussion instruments. Shortly after World War II, deciding to work musicological journal devoted to music After a year in Los Angeles in which he in the field of music education, he made a from the African Diaspora. She served on studied with Schoenberg, Harrison moved smart scholarly connection. Allen recog- the Council and Board of Directors of the to New York, but became seriously ill from nized that, since American music education American Musicological Society, as well as the noise, stress, and crowded conditions. had its roots in New England singing the Board of Directors of the Society for He returned to California in 1953 and set- schools, and most of the tunebooks com- American Music (formerly the Sonneck tled in the (then) rural town of Aptos, where piled for those schools had pedagogical Society), and was a member of the editorial he remained the rest of his life. In the 1970s introductions, a survey of those introduc- board for the journal American Music during he began to study traditional gamelan tions might illuminate the history of his dis- the 1980s. instruments and techniques and ultimately cipline. His doctoral dissertation contained Southern taught at Brooklyn College composed more than three dozen works for that survey, written with the clarity and and York College of the City University of the Indonesian ensemble. common sense that he brought to all his New York and became the first black Harrison left a legacy of more than 300 writing. But more important for scholarship, woman tenured in the College of Arts and works, including four symphonies, two his dissertation also carried an appendix of Sciences at Harvard University, holding a operas, dozens of chamber music pieces, sev- sources: a detailed bibliography of all the joint appointment there in African- eral concerti, and numerous works for per- eighteenth-century tunebooks he had locat- American Studies and Music from 1976-86. cussion ensemble. He mixed instruments ed. Allen’s research showed that, for all their In 2001 she received the National and compositional processes from various pedagogical importance, these books were Humanities Medal. Her recent publications cultures, often using the gamelan or the per- also artistically significant. Preserving the include Images: Iconography of Music and cussion orchestra to back Western solo music of the first American composers, they Musicians in African-American Culture (co- instruments. He was deeply committed to also suggest how that music was received— authored in 2000 with Josephine Wright) just intonation systems and often called for not a simple story, as it happened. As one and the forthcoming National Association of the retuning of fixed-pitch instruments, who, in the late 1960s, picked up the torch Negro Musicians: A Documentary History (co- which provided a rich palette of intonation- from Allen and Irving Lowens, his biblio- edited with Doris McGinty). She is survived al color in his music. graphical co-conspirator, I still have a copy by her husband and son, Edward Southern, Harrison was also a poet, painter, and of Allen’s dissertation on my shelf: a second and a daughter, April S. Reilly. writer. In New York he reviewed more than carbon copy, I believe (typed in 1949 on a —Josephine Wright 300 concerts for the Herald Tribune and manual typewriter, with almost no contributed numerous essays to musical and strikeovers). To see the meticulous care he non-musical periodicals. He was an outspo- Remembering Lou Harrison took in describing these books, checking ken advocate for Gay Rights and wrote every copy in search of variations, is to be in On 2 February 2003, America lost one musical works with anti-war and ecological the company of a mind truly devoted to of her most distinctive and original musical themes. He lived these causes as well: he “research for research’s sake,” as an earlier voices: Lou Harrison, known for his raptur- used only non-tree paper in his home, for pioneer, Waldo Selden Pratt, had put it. ous melodies, infectious rhythms, explo- instance, and built a straw-bale house in the As things worked out, scholarship rations of just intonation, and syntheses of Mojave Desert. Asian and Western musics. Harrison died Harrison was unashamedly devoted to continued on page 19

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The Sounds of Philadelphia auction houses, will discuss vintage record International Association for the Study Association for Recorded Sound values and the economics of record collect- of Popular Music (IASPM-US Branch) Collections (ARSC) to meet in ing. Francis Davis, a Contributing Editor to Annual Conference 2003 Philadelphia, the Atlantic Magazine, will give a talk called Date: 18-21 September 2003 28-31 May 2003. “Record Collecting: The Mundane Location: University of California, Los Obsession.” Record collectors of all sorts will Angeles For further information contact: find their talks enlightening and informa- Broadening the Playlists: Popular Musics in General Information: Marjorie Hassen: tive. Dialogue (215) 898-2817, [email protected] Noted author and producer Dick “Popular music” means many things to Program Information: Samuel Brylawski: Spottswood will talk on the widely many people. For example, is it rock music? (202) 707-8465, [email protected] acclaimed book Country Music Sources: A Is it the music of folk or ethnic cultures? Is it Biblio-Discography of Commercially Recorded the music heard on increasingly corporate The Association for Recorded Sound Traditional Music that he co-authored with radio? Is it film music, or “ubiquitous Collections will be holding its 37th annual the late Guthrie Meade and his son Douglas music”? How does jazz integrate into our conference in Philadelphia, Pennsylvania S. Meade. Called “this generation’s most conception of popular music? Similarly, from 28-31 May 2003. Hosted by the important reference book” by Charles Wolfe popular music is sometimes defined in rela- University of Pennsylvania Libraries, the of the Institute for the Study of American tion to classical music or other forms of conference will bring together many of the Music, the session will look at the genesis of music constructed as esoteric or targeted to world’s experts in recorded sound history this new book that promises to change the specific taste or cultural cohorts (for exam- and technology for three days of lectures, study of vernacular American music. ple, revival-era folk music); that is, popular demonstrations, and workshops on the his- Closing the conference will be the 13th music is viewed as more accessible to less dis- tory of recorded sound from its very begin- annual ARSC Awards for Excellence cerning masses. This conference will explore nings to the most recent developments of in Historical Recorded Sound Research. The the myriad global and local definitions and the 21st century. awards honor the best research for the previ- implications of the term “popular music,” as Philadelphia, famous for both its classi- ous year and recognize the contributions incorporated in its styles, genres, audiences, cal and its popular music, will be featured in these authors have made towards document- to name just a few of its many valences. many of the sessions. Two of Philadelphia’s ing and preserving our cultural heritage. We are particularly interested in work most renowned recording luminaries, Sigma An audio preservation pre-conference that explores how and why something Sound Studio owner Joe Tarsia, and workshop will address technological issues becomes popular in any national or cultural Cameo/Parkway Records producer-song- confronting recorded sound collections, context, be it classical “pops,” film music, writer, Dave Appell will be speaking at the offer advice on designing and managing an salsa, reggae, marching band music, rock, conference. Cameo/Parkway, where Mr. audio preservation program, and explain the disco, or the many other forms that popular Tarsia was a chief engineer, was sound recordings permissions process. music takes. Our aim is to put various the center of Philadelphia popular music Early registration fees are $100 for expressions of popular music in dialogue in recording in the 1960s. The independent ARSC members and $125 for non-mem- order to better understand popular music as record company was the home of Chubby bers. Registration materials, program sched- a broad and varied form of musical expres- Checker, Bobby Rydell, and the Orlons. ule, and local arrangements information is sion. We also seek to interrogate the aesthet- The great rhythm & blues hits of the 1970s, available on the conference web site at ic, political, and social constructions of the such as those by the Stylistics, the O’Jays, http://www.library.upenn.edu/ARSC/. “popular,” the processes by which forms of and Harold Melvin and the Blue Notes, ARSC, a non-profit professional and music emerge or re-emerge into public con- were created at Tarsia’s Sigma Sound scholarly association has been at the fore- sciousness, and how and why they work on Studios. It was at Sigma where The Sound of front of research into the history of recorded an affective level. Philadelphia was born and bred. sound for nearly 40 years. The annual ARSC We invite papers that grapple with the Dr. Carole Nowicke will review the conference brings together leaders in the his- meanings and definitions of popular music, work of the Philadelphia Brass Ensemble. tory and technology of recorded sound from especially those that go beyond a considera- The group, made up of members of the around the United States and the world. tion of rock music as popular music. Papers Philadelphia Orchestra, recorded a number Information on ARSC is available on the based upon the conference theme are pre- of important albums in the 1960s, including Website at http://www.arsc-audio.org/ ferred, but we welcome papers that deal with one that was suppressed by music director any aspect of popular music. Cultural, his- Eugene Ormandy. Dr. Nowicke will be Midwest Popular Culture Association torical, musicological, interdisciplinary, soci- joined by members of the ensemble. Conference ological and other methodological perspec- Millions of Americans collect records for Minneapolis, MN tives are welcome. Abstracts are due 15 May fun and profit, and two sessions will address 17 - 19 October 2003 2003. Email submissions preferred. Please the arcane world of record collecting and Deadline for submissions: 30 April 2003 send abstracts to the Program Chair, Norma record collectors. Kurt Nauck, owner of one Contact: Gary Burns [email protected] Coates, [email protected], or if necessary, of the world’s foremost historic recordings via snail mail:

14 The Bulletin of the Society for American Music • Vol. XXIX, No. 1 C ONFERENCE A NNOUNCEMENTS

Dr. Norma Coates forum (panels), provide introductory and in- Over the last thirty-six years, the festival Department of Communications depth information in specific domains (tuto- has featured numerous nationally and inter- University of Wisconsin-Whitewater rials), and show current products (exhibits). nationally known performers, conductors, 800 W. Main Street Detailed information about the confer- and composers. Fifteen composers now have Whitewater, WI 53190 ence and its organization is available on its received the Pulitzer Prize and five the For more information on IASPM-US, Website (http://ismir2003.ismir.net/). Grawemeyer Award. An annual competition visit our Website at: http://www.iaspm-us.net for orchestral compositions, part of the festi- 37th Contemporary Music Festival val since its inception, has provided many ISMIR 2003 - 4th International INDIANA STATE UNIVERSITY young composers with the invaluable expe- Conference on Music Information “Other Realms” rience of hearing their works rehearsed and Retrieval Topics relating to spirituality, mysticism, performed by a professional orchestra. http://ismir2003.ismir.net/ or religion in contemporary music Dr. Todd E. Sullivan, Chairperson 26-30 October 2003 The ISU Department of Music invites Department of Music Library of Congress, Washington, D.C. the submission of abstracts for the 37th Indiana State University and Johns Hopkins University, Baltimore, annual Contemporary Music Festival, to be Terre Haute, IN 47809 Maryland held 29-31 October 2003. Principal guests (812) 237-2771 Call for Papers, Posters, Tutorials, Panels of the festival include noted composer [email protected] and Exhibits Stephen Paulus, contemporary music The annual ISMIR Conference is the ensemble eighth blackbird, and The Huguenot Historical Society, Fall 2004 first established international forum for Louisville Orchestra. In Fall 2004, the Huguenot Historical those involved in work on accessing digital Presentations in a variety of formats are Society of New Paltz, New York and co- musical materials. It reflects the tremendous sought in order to engage an audience of sponsor SUNY/New Paltz will hold a two- growth of music-related data available either invited guests, music students, music faculty, day conference on eighteenth-century cul- locally or remotely through networks and and the general public on the subject of spir- tural issues in the Hudson Valley. Through the consequent need to search this content ituality, mysticism, or religion in contempo- performances, papers, tours and discussions, and retrieve music and musical information rary music. the conference participants will explore this efficiently and effectively. All presentations should be limited to 20 transitional period that, in some ways, was This area presents vast challenges for minutes. Abstracts should be written so that no longer dominated by European perspec- those who need to organize and structure they can be printed or typed on one page. If tives. It was not yet distinctly American in its musical data, provide tools to search and sending by regular mail or fax, please send two bearing, but certain aspects of the culture retrieve, and use these tools efficiently. Music copies; at the bottom of the first should were beginning to define a unique local representation needs to be multi-dimension- appear the author’s name, audio-visual equip- identity. A wide variety of religious and eth- al and time-dependent; audio data is volu- ment requirements for the presentation, insti- nic groups lived in the Hudson Valley during minous, requiring particular care in storage tutional affiliation, and full return address the Colonial Period. They included French and transmission while preserving quality; including email and fax number. The second Huguenots, Dutch Protestants, German the need for descriptive information about copy should be anonymous. If submitting by Lutherans, Scottish Presbyterians, English what is musically significant addresses a large email, please send as an attachment. Anglicans, European Jews, Catholics, spectrum of internal and external character- For presentations involving more than Quaker, Shakers, and Atheists. The confer- istics, from acoustic to musicological and one person, the organizer should provide an ence therefore offers a wide variety of sub- cultural features; intellectual property rights abstract long enough to summarize the basic jects to study. The conference is intended to issues (about what can be made available to theme and ideas of the entire presentation be interdisciplinary in nature, and presenters whom and how) are complex, involve a vari- and the contributions expected from each of in fields of history, archeology, anthropology, ety of individuals and organizations, and the participants. social studies, linguistics, religion, decorative vary from country to country. Selections will be made on the basis of and fine and performing arts, etc. will be All of these concerns are of interest to the anonymous abstracts. encouraged to submit papers. A concert of education, academia, entertainment and All abstracts are due by 30 April 2003 choral music representing the religions listed industry. This conference thus aims at pro- and should be sent to: above will include psalms, fuguing tunes by a viding a place for the exchange of news, 37th Contemporary Music Festival local composer, and larger works by issues and results, by bringing together Call for Papers Sweelinck and Charles Theodore Pachelbel. researchers and developers, educators and Department of Music The call for papers and performances librarians, students and professional users, Indiana State University will go out shortly. working in fields that contribute significant- Terre Haute, IN 47809 ly to this multidisciplinary domain, to pre- (812) 237-3009 fax sent original theoretical or practical work in http://baby.indstate.edu/music/cmf/ peer-reviewed contributions (papers, Questions can be emailed to posters). It will also serve as a discussion [email protected]

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Newberry’s Victorian Cornet Band Holiday Inn and Blue Skies. The Berlin Baker, will celebrate JAM with a birthday Newberry’s Victorian Cornet Band, a series will continue over the next few seasons, tribute to cornetist Bix Beiderbecke, in addi- new period-instrument ensemble that spe- eventually covering every aspect of his career tion to sponsoring other jazz bands from cializes in post-Civil War American band from his early years on Tin Pan Alley, the first across the country and hosting the 16th music, was inaugurated with a special con- Broadway shows, his classic films, the great Annual Thelonious Monk International Jazz cert on 19 January 2003 at the University of Broadway shows of the ‘40s and ‘50s, and his Competition. The museum will also Delaware under the baton of Dr. Robert late songs. Other songwriters to be featured display new acquisitions from the collections Streckfuss. The group was augmented by in the future as part of Songs and Singers of trumpeter Doc Cheatham, dancer Jeni students and faculty from the university’s include the Gershwins, Jerome Kern, LeGon and bandleader-composers Horace music department and members of the Harold Arlen, and some lesser-known writ- and Fletcher Henderson. Chesapeake Silver Cornet Brass Band in ers such as Jay Gorney. Among the singers In celebrating JAM, the museum joins order to create a full-sized band of about 26 under consideration for concert tributes are with a diverse group of 20 organizations, members. The concert program was assem- Al Jolson, Judy Garland, Mabel Mercer, and institutions, associations and federal agencies bled by Michael O’Connor, a visiting lectur- Mary Martin. For more information on that have provided financial and in-kind er at the University of Delaware and artistic American Classics and this series, visit support, as well as organizing programs and director of the NVCB in an attempt to http://www.benandbrad.com/amclass.html. outreach of their own. “That so many orga- nizations at both the national and local level recreate a typical indoor band concert from National Museum of American circa 1888. All of the music performed by have joined in celebrating Jazz Appreciation History celebrates second annual Month is very gratifying and bodes well for the band was acquired from the American Jazz Appreciation Month Memory Website of the Library Congress, the spread of this idea in future years,” said which has recently posted a wealth of band The Smithsonian Institution’s National the museum’s Curator of American Music, and orchestra music from the 1870s-90s. In Museum of American History is leading the John Edward Hasse. the tradition of such concerts, the band second annual celebration of Jazz The Smithsonian operates the world’s alternated with soprano and pianist Nicole Appreciation Month (JAM), a national and most comprehensive set of jazz programs. Aldrich Clouser, also a University of international celebration of jazz as a living The National Museum of American History Delaware faculty member. The concert was and historical treasure. is home to a jazz archive that includes well received by both performers and audi- During the month of April the museum 100,000 pages of Ellington’s unpublished ence. will spotlight the history and music of jazz music, and prized artifacts such as Ella Newberry’s Victorian Cornet Band through concerts, film programs, poetry Fitzgerald’s famous red dress, Dizzy hopes to offer this type of program to other readings, and displays. “Few things are more Gillespie’s angled trumpet, Benny universities in the hopes of reinvigorating all-American than jazz,” said Brent D. Glass Goodman’s clarinet, Tito Puente’s timbales, the sound of the American band that existed director of the National Museum of and Louis Armstrong’s first cornet. between the Civil War and the advent of American History. “As the nation’s history The museum, located at 14th Street and Sousa’s much larger and more colorful tour- museum we want to raise public awareness Constitution Avenue N.W., is open from 10 ing bands. Information about NVCB can be of jazz as one of America’s cultural treasures a.m. to 5:30 p.m. daily. Admission is free. obtained by contacting Michael O’Connor and we hope that JAM will continue to Call visitor information at (202) 357-2700 at: [email protected] or (302) 831-1214. nourish the growing appetite for jazz.” or visit our Website at http://americanhisto- JAM events in 30 states and 10 countries ry.si.edu. For current information on all Songs and Singers are listed on the official Website www.smith- JAM programs and events, please visit American Classics has inaugurated an sonianjazz.org together with a comprehen- http://smithsonianjazz.org. sive directory of jazz societies in every state important new series, Songs and Singers. Members in the News: This series presents programs built around and over 100 suggestions for celebrating the songs of specific songwriters or songs jazz. The museum has distributed 125,000 In November, W. Anthony Sheppard associated with major American singers, all copies of the JAM 2003 poster, depicting received the Alfred Einstein Award from the performed by a roster of leading artists from Billie Holiday, to educators, musicians, and American Musicological Society for his arti- Boston and beyond. The first season of cultural organizations nationwide. U.S. cle “An Exotic Enemy: Anti-Japanese Songs and Singers will be a two-concert Secretary of Education Rod Paige is voicing Musical Propaganda in World War II series, Irving Berlin—The Films for Fred his support for the celebration with a letter Hollywood.” This article appeared in the Astaire and Bing Crosby, saluting both the addressed to every school district in the Journal of the American Musicological Society, songwriter and performers, and the 2003 country encouraging them to participate in 2001, vol. 54, no. 2. In December he was Bing Crosby Centenary. Featured will be JAM. awarded an NEH Fellowship which will songs from Top Hat, Follow the Fleet, The Smithsonian Jazz Masterworks allow him to devote next year to work on his Carefree, Easter Parade, White Christmas, Orchestra, the museum’s acclaimed 18- current book, Extreme Exoticism: Japan in and the two films featuring both men, member big band, conducted by David the American Musical Imagination.

16 The Bulletin of the Society for American Music • Vol. XXIX, No. 1 BULLETIN B OARD

Jonathan Elkus, recently retired from his Esplanade, as well as in-house scrapbooks of Room 318 position as lecturer and director of Bands at press clippings and review. The Arthur Washington, DC 20506 UC Davis, was recently awarded the presti- Fiedler Collection at Boston University Telephone: 202-606-8200 gious Edwin Franko Goldman Memorial holds most of his personal correspondence, E-mail inquiries: [email protected] Citation from the American Bandmasters scores, clippings, photos, and memorabilia. Association (ABA). The citation was award- Joseph Horowitz has created an SAM NEH Fellowships, 2004-2005 ed in recognition of Elkus’s “significant con- advisory committee to “American Classics,” tributions to bands and band music in Application Deadline: 1 May 2003 Naxos’s landmark survey of American classi- America,” specifically his Charles Ives schol- The National Endowment for the cal music, projected to include over 200 arship and transcriptions. Recipients of this Humanities announces the competition for CDs, mostly of repertoire that is little- citation, first established in 1962 to honor Fellowships for 2004-2005. These known. The other members are Wayne Edwin Franko Goldman, founder and first Fellowships provide opportunities for indi- Shirley, Carol Oja, and Wiley Hitchcock. president of the ABA, are selected for their viduals to pursue advanced research in the They have the pleasurable responsibility of outstanding efforts and contributions in the humanities. Applicants may be faculty or recommending artists, repertoire, and anno- development and improvement of concert staff members of colleges or universities or of tators to Klaus Heymann, who masterminds bands and band music. primary or secondary schools. Scholars and Naxos. If you’re not aware of this series, it is At the annual meeting of the Music writers working independently, in institu- not only historic for its contents but for its Library Association, held in Austin, Texas, tions such as museums, libraries, and histor- prominence—many titles have sold 20,000 the 2003 Dena Epstein Award for Archival ical associations, or in institutions with no copies and more worldwide. Among the and Library Research in American Music connection to the humanities, also are eligi- composers already included or pending are was granted to Ayden Adler and Ryan ble to apply. such important and under-exposed figures Jones. The award endowment was estab- NEH Fellowships projects may con- as William Henry Fry, George Templeton lished through a generous gift from Morton tribute to scholarly knowledge, to the Strong, George Chadwick, Amy Beach, and Dena Epstein to the Music Library advancement of teaching, or to the general Arthur Farwell, Charles Tomlinson Griffes, Association in 1995. public understanding of the humanities. George Antheil, Paul Creston, and Elliott Ayden Adler is a doctoral student at Award recipients might eventually produce Carter. Members with suggestions for Naxos the Eastman School of Music. She was scholarly articles, a book-length treatment of are welcome to forward them to the com- granted the Epstein Award to study the cul- a broad topic, an archaeological site report, a mittee members. tural conflicts underlying the phenomenon translation, an edition, a database, or some Another project I’ve had a hand in was of pops concerts, viewed as an attempt to other scholarly tool. the Pacific Symphony’s “Dvorak in America” provide orchestra music born out of aristo- Persons seeking support for work leading festival last April (it’s California’s third-largest cratic European elitism to the democratical- to a degree are not eligible to apply, nor are orchestra, in Orange County, California), ly-minded American general public through active candidates for degrees. Those who including music by Chadwick, Farwell, and the institution of the American symphony have successfully defended their dissertations Victor Herbert (among others). The three orchestra. American orchestras have endeav- and are waiting for the diploma are eligible Chadwick pieces galvanized the musicians ored to simultaneously deliver music of the if they submit a letter from the dean of the (mostly LA studio players). The concertmas- highest artistic quality, serve a wide spectrum school attesting to that fact. See the eligibili- ter, Raymond Kobler (formerly concertmas- of the American public, secure the patronage ty criteria on the Website: ter of the San Francisco Symphony), was of the financial elite, and obtain a certain http://www.neh.gov/grants/guidelines/ found shaking his head in perplexity that he measure of commercial viability. Focusing fellowships.html had never before encountered Chadwick’s on Arthur Fiedler and the Boston Pops The Fellowships Program begins accept- orchestral and chamber works. Steve Orchestra, Ms. Adler will address an often ing applications on 1 March 2003. All appli- Ledbetter informs me that Neeme Jarvi is ignored cultural phenomenon that plays an cations must be received on or before 1 May conducting Chadwick’s Third Symphony integral role in the history of classical music 2003. Please note that the Program does not with the Boston Symphony next January. A in America. This is central to wider con- accept applications submitted by fax or new Nashville Symphony Chadwick CD, temporary social and aesthetic debates about email. Applicants will be notified of the deci- for Naxos, is in the can. This salty and whim- the function of the symphony orchestra in sions on their applications by mid- sical composer, perhaps our closest musical our society, and the value of different kinds December 2003. equivalent to Winslow Homer and Mark of music. The proposed project will make Mail inquiries:: Twain and one of the best-kept secrets in use of Fiedler-related materials at the Boston Fellowships American music, is on the way back. Symphony archives and at Boston Division of Research Programs University. The BSO archives contain all of National Endowment for the the administrative files relating to Fiedler’s Humanities tenure at Symphony Hall and the 1100 Pennsylvania Ave., N.W.,

continued on page 18

The Bulletin of the Society for American Music • Vol. XXIX, No. 1 17 BULLETIN B OARD continued from page 17 Carol June Bradley Award Center for Popular Music Established Receives Grant to Digitize 2003 Kurt Weill Prize for At its 2003 annual meeting, the Music Broadsides Scholarship on Musical Theater Library Association announced the estab- The Center for Popular Music at (Deadline 30 April 2003) lishment of the Carol June Bradley Award Middle Tennessee State University has The Kurt Weill Prize for distinguished for Historical Research in Music received a grant of $46,636 from the scholarship on twentieth-century musical Librarianship. Ms. Bradley is Librarian National Endowment for the Humanities theater has been awarded biennially since Emeritus at the State University of New to support the cataloging and digitization 1995. In 2003, the two prize awards of York at Buffalo, and has been the foremost of the Kenneth S. Goldstein Collection of $2500 and $500, respectively, will be pre- historian of music librarianship. This American Song Broadsides. The Goldstein sented to the author of an outstanding annual award, in the amount of $1,000, Collection, acquired by the Center in book and the author of an outstanding arti- will be granted to support studies that 1994, consists of approximately 3,300 cle. Eligibility is limited to work first pub- involve the history of music libraries or spe- broadsides, and is one of the largest such lished in 2001 or 2002; entries may include cial collections; biographies of music librar- collections in the country. books, major scholarly articles or essays (or ians; studies of specific aspects of music Song broadsides (sometimes called chapters of larger volumes), critical edi- librarianship; and studies of music library “song sheets”) were a common and inex- tions, or publications in other media, patrons’ activities. pensive medium through which popular including audio or video recordings. Co- The grant will be awarded to support songs and ballads were commercially dis- sponsors of the prize are the Modern costs associated with the research process. seminated from the sixteenth through the Language Association, the American These may include travel, lodging, meals, early twentieth centuries. Broadsides nor- Musicological Society, the American supplies, and photocopy or microfilm mally contained only lyrics, as simple text Society for Theatre Research, and the Kurt reproduction of source material. There are was much easier and cheaper to typeset and Weill Foundation for Music. no restrictions as to applicant’s age, nation- print than was musical notation, according Nominations, including five copies of ality, profession, or institutional affiliation. to Paul Wells, the director of the Center for the nominated work and contact informa- All proposals will be reviewed entirely on Popular Music. “They were sold to people tion for the author, must be received by 30 the basis of merit. Applicants should sub- who were not affluent enough to own a April 2003 at the Kurt Weill Foundation mit a summary of the project, a prelimi- piano or who were not musically literate,” for Music, 7 East 20th St., 3rd Floor, New nary budget, a current vita, and the names Wells said. “Broadsides offer a window York, NY 10003. Further information is of three references. into the musical tastes of a different class of available at: www.kwf.org; by telephone: Within one year of receiving the award, people than those who were buying sheet 212-505-5240; or by fax: 212-353-9663. the recipient is required to submit a report music of the same period.” Most of the on how the funds were spent, and on the items in the Goldstein collection date from Kurt Weill Foundation 2004 Grant progress of the work supported. Any pub- the nineteenth century. Program (Deadline 1 November lication of the recipient’s work must state Numerous older traditional ballads 2003) that this award helped to support the were printed in broadside form, as were The Kurt Weill Foundation for Music research process. contemporary narrative songs that docu- funds research and performance projects The deadline for receipt of applications mented natural disasters, battles, political relating to Kurt Weill and his wife, actress- is 15 June 2003. Applications received events, tragic accidents, and other aspects singer Lotte Lenya. 1 November 2003 is the after that date will be considered for fund- of daily life. Because much of the song application deadline for 2004 grants in the ing in 2004. Recipients will be notified by material printed on broadsides was topical following categories: research and travel, 15 October 2003 and announced at the in nature, they provide source materials not symposia, publication assistance, disserta- MLA annual meeting in Washington, DC, only for the examination of the creation tion fellowships, college/university perfor- February, 2004. and consumption of popular song in the mance and production, recording projects, United States, but for research into a broad broadcasts, and professional performance Applications should be submitted to: spectrum of American culture. They are of and production. Grant guidelines, applica- interest to scholars in many disciplines tion forms, and further information on the G. Dale Vargason, Chair including folklore, musicology, social and grant program are available at the Kurt Bradley Award Committee cultural history, popular culture, and soci- Weill Foundation Website: www.kwf.org; by Sibley Music Library ology. telephone: 212-505-5240; or by fax: 212- 27 Gibbs Street The Goldstein collection was put 353-9663. Rochester, NY 14604 together over a period of eight to ten years through some very active, aggressive col- For more information, contact the chair lecting on the part of the late Kenneth via email, [email protected]. Goldstein, one of the country’s leading

18 The Bulletin of the Society for American Music • Vol. XXIX, No. 1 folklorists. Goldstein headed the program Call for Papers communicate with you by post, please in folklore at the University of Pennsylvania continued from page 2 include two stamped, self-addressed for many years, and recognized the impor- involving unusual formats, the proposer envelopes with your submission. tance of broadsides in his own study of should include six copies (five without 5. Successful submitters will be expected to American and Canadian folksong. identifying information) of an addition- provide a 100-word abstract via email by In carrying out the grant-funded pro- al statement explaining the format and December 10 for publication in the con- ject, Center staff will scan each item in the the rational for the session. Individual ference program. Goldstein collection, enhance existing bib- papers or performances in such sessions All materials must be postmarked on or liographic records to add the full text of the should follow the guidelines for individ- before August 15, 2003, and should be sent song lyrics and provide subject access, con- ual submission, but all should be sub- to: vert existing database records into the prop- mitted together. Robert Walser, SAM Program Chair er format for entry into the 4. The committee will normally acknowl- Musicology Department OCLC/WorldCat system, and create a edge receipt of submissions and commu- UCLA Box 951623 website that will permit access to the col- nicate its decisions by email. If you Los Angeles, CA 90095 lection via the Internet. would prefer to have the committee The project was designed and the grant proposal written by Lucinda Cockrell, the Center’s archivist, and Mayo Taylor, former Coordinator of Research Collections at the Remembrances aware, unpretentious, dead serious about Center. This project will serve as the first continued from page 13 artistic and intellectual matters, but skeptical step in a larger plan to digitize and present turned out to be only one phase of Allen’s of the view that scholarly striving might lead materials from the Center’s extensive hold- career. Unlike most of us, he outgrew it. to perfection. A review he wrote of The New ings through the Internet, making them People spotted his leadership qualities. He Grove Dictionary of American Music uses a more accessible to scholars and members of became chairman of this, editor of that, and phrase that, for me, catches the flavor of his the general public. president of the other thing as he moved up attitude. After lavishing praise on the project the academic ladder. In 1969, he was named and explaining its significance as a land- dean of the University of Michigan’s School mark, he noted a couple of small blemishes, of Music, a post he held for more than a which he attributed to differences of opin- In the Fall of 2002, the decade. Allen loved many kinds of music. As ion, glitches in historical sources, and “the Board of Directors voted a trumpet-playing bandsman with a Ph.D., sheer cussedness of things.” What I learned he also appreciated research and writing, and from Allen Britton, over four decades of col- to amend the Society’s he knew as well as anybody how unin- legial interaction, was that, for all of music’s mission statement slight- formed most Americans were about our other-worldly power, it’s still a human activ- own music history. Thus, when the Sonneck ity; those of us privileged to serve music as ly. The revised statement Society and Irv Lowens, its first president, scholars are no more exempt in our work now reads: came calling, Allen responded, bringing tal- from life’s sheer cussedness than, say, a taxi- ent and experience to the cause that no other driver, or a plumber, or any other blue-collar Sonnecker could claim. He was our journal’s worker. founding editor, and later he served as our —Richard Crawford To stimulate the apprecia- president. tion, performance, creation I like to think of Allen’s spirit as an Americanist one: commonsensical and and study of American music in all its diversity, and the full range of activities and institu- tions associated with that music. “America” is understood to embrace North America, including Central America and the Caribbean, and aspects of its cultures everywhere in the world.

The Bulletin of the Society for American Music • Vol. XXIX, No. 1 19 Contributing to the Society via Bequests

Members often ask about planned giving. The following are some Specific Purpose Bequests: sample documents that you may refer to when establishing bequests “I do hereby give to the Society for American Music, Pittsburgh, in your will, or at any time. Please make sure you discuss this with an Pennsylvania, a nonprofit corporation, (the sum of $______) or attorney to check the legality in your state. (all my right, title and interest in and to the following described proper- Bequest Language ty: ______) Please note that gifts of this nature should be carefully considered or (______% of the rest, residue and remainder of my estate) or (all in relation to your comprehensive financial and estate plans. We the rest, residue and remainder of my estate). Such property shall be held strongly recommend that you consult an attorney in the preparation as the ______Fund.” of your will and to supervise its execution so as to comply with your The property comprising this Fund shall be administered as part of state requirements. The following are examples for illustration only. the assets of the Society, but shall be separately accounted for as the When including a bequest provision in your will, always use the ______Fund, and (the principal and income) or (the income only full legal name and provide the federal taxpayer identification num- and not the principal) thereof shall be used for the following specific pur- ber. Our full, legal name is: Society for American Music. Our fed- poses: ______eral taxpayer identification number is: 51-0172617 ______. General Bequests for Unrestricted Purposes: The designation of the purposes for which this gift is to be used Unrestricted gifts are to be used for the greatest need at the time shall not be construed as requiring the administration of this gift as a to be determined by the Board. A general unrestricted bequest is espe- Separate Trust, the furnishing of a bond, or the making of Annual cially valued by the Society. Wording for a general, unrestricted gift Reports to any Court. may be as follows: In the event the Board of Directors of the Society for American I give and bequeath to the Society for American Music, a non-profit Music shall, in its sole discretion, determine that the intended use or corporation, the following: ______purpose of this Fund is no longer appropriate, necessary or practical, (Cash, securities, real estate, residual of estate, etc.) to be held as a com- or possible of performance, or consistent with the charitable and edu- ponent part of the Society, and used for the purposes of the Society. cational objectives of the Society, then such Board of Directors shall (If the bequest is to be used to establish a fund of the Society, add have authority to vary the purpose for which said Fund is held, as the the following): Directors determine in their sole discretion to best promote and sup- The gift shall be known as The ______port the Society for American Music or its successor, and in a man- (named funds require gift of $10,000 or more). Fund and is to be devot- ner consistent with the objectives herein set forth. ed to ______(dis- cretionary grant making, Society operations, or a program, organization, Contingent Bequest or area of interest of your choice). A contingent bequest takes effect only if the primary intention • For a bequest of securities, the possible language is: “I give the cannot be met (e.g. if the primary beneficiary does not survive the Society for American Music all of my shares of XYZ stock or mutual donor). This ensures that property will not be distributed to unin- fund to be used for the sole benefit of the Society.” tended beneficiaries. • For a bequest of cash, the possible language is: “I give to the Society • Possible language is: “If (name of primary beneficiary) does not sur- for American Music the sum of (Amount) to be used for the sole ben- vive me, or shall die during the administration of my estate, or as a efit of the Society.” result of a common disaster, then I give to the Society for American If you do not want to specify the exact amount or nature of the Music all of the rest, residue, and remainder of my estate, to be used intended gift, perhaps because the size of the future estate is difficult for the benefit of the Society.” to estimate, a proportional bequest is often the best way to accom- Bequests for Restricted Purposes plish your goals. We would receive a percentage of the estate or the If you would like to honor a family member, a special person or residue of the estate, after all other provisions have been met. provide support for a specific program or department that was mean- • Possible language is: “I give to the Society for American Music (per- ingful to you, then you can designate your bequest specifically for cent) of my estate, or (percent of the rest, residue and remainder) of that purpose. You simply use any form of the possible language my estate to be used for the sole benefit of the Society.” included above, and replace “to be used for the benefit of [insert pur- Other wording may be as follows: pose or intent]” with the specific designation. Often specific guide- “I do hereby give to the Society for American Music, Pittsburgh, lines govern the use of these types of funds. Therefore, we recom- Pennsylvania, a nonprofit corporation (the sum of $______) or mend that you contact us to discuss your restricted gift. We are here (all my right, title and interest into the following described property: to help you as you plan. ______) or (______% of the rest, residue and remainder of my estate), such bequest to be used in the manner as determined appropriate by the Board of said Society for American Music as it, in its sole discretion, shall determine.”

20 The Bulletin of the Society for American Music • Vol. XXIX, No. 1 S OME R ECENT A RTICLES AND R EVIEWS

Joice Waterhouse Gibson, University of Errors, by Tim Brooks, 243; rev. of Jimmy Walking Tour of the International Bluegrass Colorado at Boulder McDonough, Shakey, Neil Young’s Biography, Music Museum,” 32. (Dec 02): Caroline by Timothy C. Fabrizio, 246; rev. of Cary Wright, “A Few Minutes with the Legendary AMERICAN RECORD GUIDE Ginell and Kevin Coffey, Discography of Doc Watson [interview],” 27. (May/June 02): John Fleming, “Honoring Western Swing and Hot String Bands, 1928- [Ernst von] Dohnanyi: Florida State Salutes 1942, by Peter Doyle, 250; rev. of William E. BLUES REVUE ‘One of Its Own,’” 38; rev. of Susan Key, Studwell and Mark Baldin, The Big Band (June 02): Christine M. Kreiser, “Muddy Larry Rothe, eds., American Mavericks [San Reader: Songs Favored by Swing Era Orchestras Waters: The Real Hoochie Coochie Man,” 8. Francisco Symphony, American works], by and Other Popular Ensembles, by Jim Moore, 233; rev. of Nicholas E. Tawa, From Farrington, 256; rev. of John Storm Roberts, CANADIAN FOLK MUSIC Psalm to Symphony: A History of Music in New The Latin Tinge: The Impact of Latin BULLETIN England, by Moore, 237. (July/Aug 02): American Music on the United States, by (Spr 02): Allan Kirby, “Edith Fowke and Benjamin Ivry, “Celebrating Elliott Carter,” Theodore S. Beardsley, Jr., 257. Traditional Music in Rural Ontario,” 12; rev. 12. (Sep/Oct 02): John von Rhein, “Galileo, of George W. Lyon, Community Music in Galilei: New [Philip] Glass Opera Mostly THE ATLANTIC Alberta: Some Good Schoolhouse Stuff!, by Old Hat,” 34. (Jan/Feb 03): Shirley Fleming, (Mar 03): David Hajdn, “Wynton’s Richard T. Wright, 20. (Fall 02): Jeanette “Celebrating George Crumb,” 18; rev. of [Marsalis] Blues,” 43. Panagapka, “Edith Fowke: Reflections,” 23; Staff of the Shubert Archive, The Shuberts David Gregory, “Fonds Edith Fowke Present, by Traubner, 256; rev. of Richard C. BBC MUSIC MAGAZINE [archival locations],” 26. (Winter 02): Norton, ed., A Chronology of American (Oct 02): Rev. of Walter van de Leur, [Special Issue on Alan Lomax] Ronald D. Musical Theater, and Kurt Gänzl, ed., Something to Live For: The Music of Billy Cohen, “Alan Lomax, Citizen Activist,” 1; Encyclopedia of the Musical Theatre (2nd Strayhorn, by Peter Somerford, 106. (Dec 02): David Gregory, “Alan Lomax: A Life in Folk Edition), by Traubner, 257. Mark Swed, “New York Requiem [rev. of John Music,” 5; David Gregory, “Lomax on Adams’s On the Transmigration of Souls, Sept. Canadian Folk Music,” 18; David Gregory, ASSOCIATION FOR RECORDED 11 memorial work],” 25; rev. of Paul Hillier, “Sampling The Alan Lomax Collection,” 26; SOUND COLLECTIONS JOURNAL ed., Steve Reich: Writings on Music, 1965- David Gregory, “Some Other Field (Spr 02): Raymond R. Wile, “The Automatic 2000, by John Milsom, 105. (Jan 03): Robert Recordings by Alan Lomax,” 41. Maycock, “[Philip] Glass on Film,” 32. Phonograph Exhibition Company and the CANADIAN UNIVERSITY Beginnings of the Nickel-in-the-Slot BLACK MUSIC RESEARCH JOURNAL MUSIC REVIEW Phonograph,” 1; Tim Brooks, “High Drama (Fall 02): [European Perspectives on Black (21/2, 01): Teresa Magdamz and Simon in the Record Industry: Columbia Records, Music] Les Black, “Voices of Hate, Sounds of Wood, “An Interview with Rob Walser in 1901-1934,” 21; rev. of Chris Smith, That’s Hybridity: Black Music and the Complexities Toronto,” 1; Johanne Rivest, “Le hasard et la the Stuff: The Recordings of Brownie McGhee, of Racism,” 127; Michael Pickering, “Eugene technologie chez John Cage: subsistance de la Sonny Terry, Stick McGhee and J.C. Burris, by Stratton and Early Ragtime in Britain,” 151; modernité,” 12; Marie-Thérèse Lefebvre, “La Jim Farrington, 85; rev. of Peter W. Hasse Huss, “The ‘Zinc Fence Thing’: When semaine annuelle de musique de Montréal Goodman, Morton Gould: American Salute, Will Reggae Album Covers Be Allowed Out sous les auspices du Delphic Study Club, by G. Dale Vargason; rev. of J. Wilfred of the Ghetto?”, 181; Eithne Quinn, “Black 1923-1937,” 60. Johnson, Ella Fitzgerald: An Annotated British Cultural Studies and the Rap on Discography; Including a Complete Discography Gangsta,” 195; Berndt Ostendorf, CHAMBER MUSIC of Chick Webb, by Robert Iannapollo, 92; rev. “Celebration of Pathology? Commodity or (Aug 02): James M. Keller, “Leo [Ornstein], of Alyn Shipton, A New History of Jazz, by Art? The Dilemma of African-American We Hardly Knew You,” 53. (Feb 03): James Vincent Pelote, 95; rev. of Rikky Rooksby, Expressive Culture,” 217; David Horn, “The M. Keller, “Echoes of Time: Crumb’s Inside Classic Rock Tracks: Songwriting and Sound World of Art Tatum,” 237. (Spr 01): Wonderful World of Sound,” 26. (Apr 03): Recording Secrets of 100 Great Songs from 1960 Stefano Zenni, “The Aesthetics of Duke Rev. of Vivian Perlis, Charles Ives to the Present Day, by David Werchen, 96; rev. Ellington’s Suites: The Case of Togo Brava,” 1; Remembered: An Oral History, by Barbara L. of Chuck Miller, Warman’s American Records Robert Grenier, “La Mélodie Vaudoo— Sand, 16. 1950-2000, Identification and Price Guide, by Voodoo Art Songs: The Genesis of a Timothy C. Fabrizio, 97; rev. of Graham Nationalist Music in the Republic of Haiti,” CHORAL JOURNAL Lock, Blutopia: Visions of the Future and 29; Hafez Modirzadeh, “Aural Archetypes (May 02): Rev. of Ellen Grolman Schlegel, Revisions of the Past in the Work of Sun Ra, and Cyclic Perspectives in the Work of John Emma Lou Diemer: A Bio-Bibliography, by Duke Ellington and Anthony Braxton, by Coltrane and Ancient Chinese Music Lewis W. Gordon, 62. (Dec 02): David P. Robert Iannapollo, 100. (Fall 02): George C. Theory,” 75. DeVenney, “The American Choral Tapestry Creegan, “The Acoustic Recordings of Part II: Setting America’s Bard [Whitman],” Stephen C. Foster’s Music [discography],” BLUEGRASS NOW 25; rev. of Adrienne Fried Block, Amy Beach, 214; rev. of Allan Sutton, ed/comp, (July 02): Nancy Cardwell, “‘Remember Me’: Passionate Victorian: The Life and Work of an Pseudonyms on American Records (1892- Capitol Re-Issues Will the Circle Be Unbroken American Composer 1867-1944, by Nancy P. 1942): A Guide to False Names and Label Album,” 22. (Oct 02): Nancy Cardwell, “A Fleming, 87. (Feb 03): David P. DeVenney,

The Bulletin of the Society for American Music • Vol. XXIX, No. 1 21 S OME R ECENT A RTICLES AND R EVIEWS

“The American Choral Tapestry Part III: others. (No. 69): Travis A. Jackson, Bengt Hambraeus,” 12; Kevin Holm- Honoring America’s Heroes,” 9; Timothy W. “Spooning Good Singing Gum: Meaning, Hudson, “Just Intonation and Indian Sharp, “Morten Lauridsen’s Lux Aeterna—A Association, and Interpretation in Rock Aesthetic in Terry Riley’s The Harp of New Conductor’s Considerations,” 17. (Mar 03): Music,” 7; Janna K. Saslaw, “Far Out: Albion, 97. Barbara Tagg and Linda Ferreira, “A Intentionality and Image Schema in the Celebration of American Choral Music: Past, Reception of Early Works by Ornette FANFARE Present, and Future,” 7; Barbara Tagg and Coleman,” 97. (No. 70): Melvin L. Butler, (Nov/Dec 02): Peter Burwasser, “Ellen Taafe Linda Ferreira, “Fourteen Conductors Speak “Musical Style and Experience in a Brooklyn Zwilich Talks about Her Music,” 18. About American Choral Music,” 9; Gayle Pentecostal Church: An ‘Insider’s’ Sherwood, “Charles Ives and the American Perspective,” 33. FONTIS ARTIS MUSICAE Choral Tradition,” 27; “Profiles of Five (Apr/Jun 01): Rev. of Mary DuPree, Musical American Composers [Libby Larsen, Alice THE DULCIMER PLAYERS NEWS Americans: A Biographical Dictionary, and Parker, Stephen Paulus, Ned Rorem, Gregg (May-July 02): Ralph Lee Smith, “Folk Paula Elliott, Pro-Musica: Patronage, Smith],” 35; “American Composers and Music in Kentucky, 1940-1953 [WPA Performance, and a Periodical, by Martin Arrangers: A List,” 43; “Selected American Project],” 26. (Nov 02-Jan 03): Paul Gifford, Jenkins, 202. (Oct-Dec 01): Linda B. Fairtile Choral Repertoire,” 49; “Resources: Books, “The Earliest Dulcimer Recordings: Roy and Karen M. Burke, “Music Collections in Articles, Organizations and Web Sites Related Gibson, William Moriarity, and Edison American Public Libraries,” 327; Marjorie to American Choral Music,” 57; Timothy W. Cylinders,” 13. Hassen, “The Early Development of Sharp, “Spirituals: America’s Original American Music Libraries Serving Academic Contribution to World Sacred Music,” 95. ETHNOMUSICOLOGY Departments of Music,” 342; Deborah (Spr/Sum 02): Jason Baird Jackson and Campana, “Music Libraries Supporting CHURCH HISTORY Victoria Lindsay Levine, “Singing for Comprehensive Schools of Music,” 353; (Jun 02): Stephen Marini, “Hymnody as Garfish: Music and Woodland Communities Rachel Doggett, “Music in the Collections of History: Early Evangelical Hymns and the in Eastern Oklahoma,” 284; rev. of Taylor the Folger Shakespeare Library, Washington, Recovery of American Popular Religion,” Aitken Greer, A Question of Balance: Charles D.C.,” 362; J. Rigbie Turner, “Music 273. Seeger’s Philosophy of Music; Bell Yung and Collections at the Pierpont Morgan Library,” Helen Rees, eds., Understanding Charles 367; Susan Summerfield and JoEllen Dickie, THE CLARINET Seeger, Pioneer in American Musicology, by “Music Collections at the Newberry Library,” (Mar 02): Michael Drapkin, “Elliott Carter Albrecht Schneider, 330; rev. of Juan Flores, 372; Dell Hollingsworth and David Hunter, Work for Solo Bass Clarinet Premiered at From Bomba to Hip Hop: Puerto Rican “Music in the Collections of the Harry Carnegie Hall,” 66. (Sep 02): Jesse Krebs, Culture and Latino Identity, by Deborah Ransom Humanities Research Center,” 376; “Jimmie Noone: A Jazz Clarinetist’s Profile,” Pacini Hernandez, 334; rev. of María Teresa Mary Russell Bucknum, “Music Sound 42. Vélez, Drumming for the Gods, by Julian Archives in the United States,” 381; Lenore Gerstin, 337. (Fall 02): Rev. of Paul Auserlitz, Coral, “New Facilities, New Potentials: CLAVIER Merengue: Dominican Music and Dominican Recent Developments in American Music (Dec 02): James Sellers, “A Delightful Identity, and Gage Averill, A Day for the Libraries,” 391; rev. of Clifford McCarty, Lifetime of Jazz for Pianist Marian Hunter, A Day for the Prey: Popular Music and Film Composers in America: a Filmography, by McPartland,” 10. Power in Haiti, by Lise Waxer, 564; rev. of Kristina L. Shanton, 457. Janet L. Sturman, Zarzuela: Spanish Operetta, CROSS ACCENT American Stage, by John Koegel, 570. GRAMOPHONE (Spr 02): Richard Hillert, “Composers for the (Winter 03): Robin Moore, (Jul 02): Adrian Edwards, “Father of the Church: Carl F. Schalk,” 3. (Fall 02): Victor “Transformations in Cuban Nueva trova, Musical [Richard Rodgers],” 32. (Aug 02): E. Gebauer, “The Overdue American 1965-95,” 1; rev. of Ricardo Miranda, Ecos, Andrew Farach-Colton, “A Child’s Summer Church Music History,” 23. alientos, y sonidos: Ensayos sobre música mexi- Memories [Barber’s Knoxville],” 38. (Dec cana, by John Koegel, 121; rev. of William 02): Ken Smith, “Philip Glass: From Where CURRENT MUSICOLOGY H.A. Williams, ‘Twas Only an Irishman’s I Sit [post-9-11 composing],” 21. (Jan 03): (No. 65): Rev. of Philip Brett, Elizabeth Dream: The Image of Ireland and the Irish in Lawrence A. Johnson, “Opera—the Voice of Wood, and Gary C. Thomas, eds., Queering American Popular Song Lyrics, 1800-1920, America,” A3. (Feb 03): Michael Quinn, the Pitch: The New Gay and Lesbian and Robert R. Grimes, How Shall We Sing in “Detour...Aretha Franklin,” 98. (Mar 03): Musicology; Susan C. Cook and Judy S. Tsou, a Foreign Land? Music of Irish Catholic Rev. of David Nicholls, ed., The Cambridge eds., Cecilia Reclaimed: Feminist Perspectives Immigrants in the Antebellum United States, Companion to John Cage, by Peter Dickinson, on Gender and Music, by Thomas McGeary, by Sean Williams, 127. 100; rev. of Robert Maycock, [Philip] Glass: 141. (No. 66): Jonathan D. Kramer, “The A Portrait, by Ivan Moody, 101. (Apr 03): Nature and Origins of Musical EX TEMPORE Jeremy Nicholas, “Detour...Art Tatum,” 102. Postmodernism,” 7. (Nos. 67/68): [Special (Sum 00): Per Broman, “Bengt Hambraeus Issue: Composers] Articles by many and the Canadian Dream,” 5; John MacKay, American composers, incl. Lou Harrison, “‘Les Jeux Sont Faits!’: Ensemble Strategies Alvin Lucier, Steve Reich, Ned Rorem, and and Historical ‘Borrowing’ in the Music of continued on page 22

22 The Bulletin of the Society for American Music • Vol. XXIX, No. 1 S OME R ECENT A RTICLES AND R EVIEWS continued from page 21 INTERNATIONAL TUBA JOURNAL OF MUSICOLOGY EUPHONIUM ASSOCIATION (Sum 01): Elizabeth Bergman Crist, “Aaron HARMONY (Spr 02): John Check, “A Great Copland’s Third Symphony from Sketch to (Oct 02): Douglas J. Dempster, “The Wolf Disappearance: The Helicon in America,” Score,” 377. (Win 02): Leta E. Miller, Report and Baumol’s Curse: The Economic 43. “Method and Madness in Lou Harrison’s Health of American Symphony Orchestras in Rapunzel,” 85. the 1990s and Beyond,” 1. JAZZ EDUCATION JOURNAL (Nov 02): Sammy Nestico, “Lessons I’ve JOURNAL OF THE AMERICAN ACAD- THE HYMN Learned [autobiographical],” 42. (Jan 03): EMY OF RELIGION (Apr 02): Clark Kimberling, “Tunes Lost and Oscar Peterson, “Jazz Odyssey: The Life of (Jun 02): Laurie Ramey, “The Theology of Found: Trumpet, Love-Feast, Athlone, Derby,” Oscar Peterson,” C3; Mark Miller, “Jazz in the Lyric Tradition in African-American 7. (Jul 02): John Thornburg, “From Rubble Canada [history],” C10. Spirituals,” 347. to Hope: Texts and Tunes After September 11, 2001,” 18; David W. Music, “John JOURNAL OF AMERICAN FOLKLORE JOURNAL OF THE AMERICAN MUSI- Quincy Adams: A Hymn Writing President,” (Winter 03): Nicholas R. Spitzer, “Monde COLOGICAL SOCIETY 30. (Jan 03): Vincent A Lenti, “‘By the Sea of Créole: The Cultural World of French (Fall 01): Gayle Sherwood, “Charles Ives and Crystal’: The Rev. William Kuipers and The Louisiana Creoles and the Creolization of ‘Our National Malady,’” 555; Stuart Feder, Psalter Hymnal,” 7 World Cultures [zydeco music and related “Heard Maladies Are Sweet (‘But Those cultural expressions],” 57; rev. of Joyce Unheard Are Sweeter’): A Response to Gayle INSTITUTE FOR STUDIES IN AMERI- Cauthen, ed., Benjamin Lloyd’s Hymn Book: A Sherwood,” 627; Gayle Sherwood, “Ives and CAN MUSIC NEWSLETTER Primitive Baptist Song Tradition, by Judith Neurasthenia: A Response to Stuart Feder,” (Spr 02): Salim Washington, “Meditations Gray, 117; rev. of Harris M. Berger, Metal, 641; rev. of Ronald Radano and Philip V. on Coltrane’s Legacies,” 1; Bess Lomax Rock, and Jazz: Perception and the Bohlman, eds., Music and the Racial Hawes, “Reminiscing on Ruth,” 4; Jeff Phenomenology of Musical Experience, by Imagination, by Kofi Agawu, 686; rev. of Taylor, “Celebrating Jelly Roll,” 7; David Mikel J. Koven, 120; rev. of Ulrike Karlene Faith, Madonna: Bawdy and Soul; Evans, “Transcribing the Folk,” 9; Adrienne Kammerhofer-Aggermann and Alexander G. Alice Echols, Scars of Sweet Paradise: The Life Fried Block, “A Beach Discography,” 10. Keul, eds., The Sound of Music zwischen and Times of Janis Joplin; Mavis Bayton, Frock Mythos und Marketing, and Robin Allan, Rock: Women Performing Popular Music; Liz INTERNATIONAL ALLIANCE FOR Walt Disney and Europe: European Influences Evans, ed., Girls Will Be Boys: Women Report WOMEN IN MUSIC JOURNAL on the Animated Feature Films of Walt Disney, on Rock, all by Judith A. Peraino, 692. (Sum (8/1-2 02): Rev. of Ellen Grolman Schlegel, by Regina Bendix, 123. 02): J. Peter Burkholder, “The Organist in Emma Lou Diemer: A Bio-Bibliography, by Ives,” 255; Peter Manuel, “From Scarlatti to Cynthia Clark Brown, 43; rev. of Christine JOURNAL OF BAND RESEARCH ‘Guantanamera’: Dual Tonicity in Spanish Ammer, Unsung: A History of Women in (Fall 02): Emery C. Warnock, “Mormon and Latin American Musics,” 311; rev. of American Music, by Elizabeth Keathley, 44. Martial and Brass Bands of the Utah Andrea Olmstead, Juilliard: A History, by (8/3 02): Glenn D. Colton, “The Piano Territory,” 71. (Spr 03): James A. Davis, Karen Ahlquist, 369. (Fall 02): Rev. of Music of Jean Coulthard [Canadian compos- “Regimental Bands and Morale in the Richard Crawford, America’s Musical Life: A er]: A Legacy of Beauty and Inspiration,” 11. American Civil War,” 1; Phyllis Danner, History, by Thomas Riis, 578. “John Philip Sousa: The Illinois INTERNATIONAL ASSOCIATION Connection,” 44. JOURNAL OF THE CONDUCTORS OF JAZZ RECORD COLLECTORS GUILD JOURNAL JOURNAL OF COUNTRY MUSIC (Sum/Fall 01): Lynn Schenbeck and Rebecca (Spr 02): George Meunier Harris, “The Early (22/2 02): Joe Nick Patoski, “What Is This Jones Rose, “A Study of Student Community History of Jazz Literature,” 11. (Sum 02): Thing Called Texas Music? [Texas cultural her- Orchestras in the United States and Canada,” Mark Cantor, “Celluloid Improvisations: Joe itage],” 6; John Rumble, “Tall Tales From 51; rev. of John Canarina, Uncle Sam’s Marsala and His Orchestra, Featuring Adele Texas: Country Music Hall of Fame’s Oral Orchestra, Memories of the Seventh Army Girard,” 21. History Project,” 22. (23/1 03): Robert Price, Symphony, by Henry Bloch, 78. “Bakersfield Bandstand,” 18; Dave Hoekstra, INTERNATIONAL PIANO “Springfield City Limits, Part 2,” 38. (22/3 JOURNAL OF THE ROYAL MUSICAL QUARTERLY 03): Patrick Carr, “Johnny Cash: The Spirit Is ASSOCIATION (Jan/Feb 02): Bradford Gowen, “Towards an Willing,” 16; Dave Hoekstra, “Springfield (127/1 02): Rev. of Mark Anthony Neal, Authentic Voice [survey of 20th-century City Limits,” 24; Robbie Fulks, “Jean Shepard: What the Music Said: Black Popular Music and American piano music, Part I],” 28. (Mar/Apr The Woman In the Asbestos Suit,” 34. Black Public Culture [in review article], by 02): Bradford Gowen, “Scintillating Diversity Peter J. Martin, 130. (127/2 02): Rev. of [Part II of the series],” 30. (May/Jun 02): JOURNAL OF MUSIC THEORY Richard Crawford, America’s Musical Life: A Bradford Gowen, “Towards the Future [Part (Fall 00): Rev. of John Covach and Graeme History, by David Nicholls, 321. III in the series],” 28. M. Boone, eds., Understanding Rock: Essays in Musical Analysis, by Kevin Holm-Hudson, 495.

The Bulletin of the Society for American Music • Vol. XXIX, No. 1 23 S OME R ECENT A RTICLES AND R EVIEWS

KURT WEILL NEWSLETTER of Ned Rorem, A Ned Rorem Reader, by cal theatre work],” 16; Christopher Fox, (Fall 00): [Centenary issue] Guido Heldt, “. . David Nicholls, 146; rev. of Christopher “Cage & Co. [New York school of com- . listening Weill . . .”, 4; Geoffrey Chew, Wilkinson, Jazz on the Road: Don Albert’s posers],” 73. (Spr 03): Arnold Whittall, “Vorsicht, bissiger Hund!”, 12; Eric Salzman, Musical Life, by Peter Elsdon, 143. “American Allegiances,” 61. “New York Discovers a ‘Third’ Weill,” 19; Seth Brodsky, “Lessons in Paradox,” 32; rev. MUSIC PERCEPTION MUSIK UND KIRCHE of Stephen Hinton and Edward Harsh, eds., (Spr 02): Jeff Pressing, “Black Atlantic (Jan/Feb 03): [issue dedicated to gospel The Kurt Weill Edition Series I, Volume 5, by Rhythm: Its Computational and music] Wolfgang “Teddy” Doering, “‘We’ll Michael Morley, 34rev. of David Farneth, Transcultural Foundations,” 285; Richard Understand It Better By and By’: Entstehung Kurt Weill: A Life in Pictures and Documents, Ashley, “Do[n’t] Change a Hair for Me: The und Terminologie des Gospel,” 4; Peter by Philip Reed, 36; rev. of Stephen Hinton Art of Jazz Rubato,” 311; Anders Friberg and Bubmann, “Thesen zur Gospelmusik,” 11; and Jürgen Schebera, Musik und musikalisches Andreas Sundström, “Swing Ratios and Rolf Tischer, “Gospels im Gottesdienst,” 18. Theater. Gesammelte Schriften, by Andreas Ensemble Timing in Jazz Performance: Hauff, 37. (Fall 01): [Lady in the Dark special Evidence for a Common Rhythmic Pattern,” DIE MUSIKFORSCHUNG issue] Bruce D. McClung, “Art Imitating Life 333; Steve Larson, “Musical Forces, Melodic (Jul 02): Marianne Betz, “George Whitefield Imitating Art: Lady in the Dark, Gertrude Expectation, and Jazz Melody,” 351; Vijay Chadwick: Neue Funde zu Biographie und Lawrence, and Star!”, 4; rev. of Steven Bach, Iyer, “Embodied Mind, Situated Cognition, Werk,” 274. and Expressive Microtiming in African- Dazzler: The Life and Times of Moss Hart, by NEUE ZEITSCHRIFT FÜR MUSIK Joseph Kissane, 13; rev. of Ulrich Schreiber, American Music,” 387; Walter Gerard Busse, “Toward Objective Measurement and (Jan 02): Matthias Schneider, “Der hybride Opernführer für Fortgeschrittene Das 20. Sound der Zukunft [Terry Riley’s In C],” 48. Jahrhundert I: Von Verdi und Wagner bis zum Evaluation of Jazz Piano Performance Via Faschismus, by Gunther Diehl, 14; rev. of Lys MIDI-Based Groove Quantize Templates,” NOTES: QUARTERLY JOURNAL OF Symonette and Elmar Juchem, Kurt Weill. 443; Geoffrey L. Collier and James Lincoln THE MUSIC LIBRARY ASSOC. Briefe an die Familie (1914-1950), by Collier, “A Study of Timing in Two Louis (Dec 01): Harry Eskew, “Andrew W. Christian Kuhnt, 15; rev. of Pascal Huynh, Armstrong Solos,” 463. Johnson’s The Eclectic Harmony: A Middle Kurt Weill, ou la conquête des masses, by Tunebook in Middle Tennessee,” 291; rev. of Tamara Levitz, 16. (Spr 02): Edna Nahshon, MUSIC THEORY SPECTRUM (Spr 02): Rev. of Bell Yung and Helen Rees, James Buhler, Caryl Flinn, and David “From Geopathology to Redemption: A Flag Neumeyer, eds., Music and Cinema, by Julie is Born on the Broadway Stage,” 5; Christian ed., Understanding Charles Seeger, Pioneer in American Musicology, by Ellie Hisama, 142. Hubbert, 337; rev. of John F. Link, Elliott Kuhnt, “Approaching Music for A Flag is Carter: A Guide to Research, by Carl Born,” 8; Elmar Juchem, “Retracing The (Fall 02): Rev. of Adam Krims, Rap Music and the Poetics of Identity, 259. Rahkonen, 344; rev. of John Xiros Copper, Eternal Road: A Pogrom Play by Aron ed., T.S. Eliot’s Orchestra: Critical Essays on Ackermann Unearthed,” 10. (Fall 02): THE MUSICAL QUARTERLY Poetry and Music, and Lawrence Kramer, Tamara Levitz, “Putting Kurt Weill in His (Sum 01): Elizabeth Bergman Crist, “Critical Walt Whitman and Modern Music: War, Historical Perspective: The New Grove Politics: The Reception History of Aaron Desire, and the Trials of Nationhood, by Alain Articles,” 4. Copland’s Third Symphony,” 232. (Fall 01): Frogley, 353; rev. of Richard A. Reuss, Martin Brody, “‘Haunted by Envisioned American Folk Music and Left-Wing Politics, LIVING BLUES 1927-1957, by Burton W. Peretti, 364; rev. of (May 02): Jeff Hannusch, “The Legend of Romance’: John Harbison’s Gatsby,” 413; Neil Lerner, “Copland’s Music of Wide Open Gail Levin and Judith Tick, Aaron Copland’s Jody Ryder,” 21. (Jul/Aug 02): Dawayne America: A Cultural Perspective, by Jennifer Gilley and Brenda Haskins, “‘I left all the Spaces: Surveying the Pastoral Trope in Hollywood,” 477; Anthony John, “‘The DeLapp, 365; rev. of Richard Middleton, ed., ideas of anybody else and went for myself’: Reading Pop: Approaches to Textual Analysis in Henry Townsend [Part 1],” 18; Tony Glover, Moment That I Dreaded and Hoped For’: Ambivalence and Order in Bernard Popular Music, by Lawrence A. Wayte, 367; Scott Dirks, and Ward Gaines, “Night Train, rev. of Allen Forte, Listening to Classic Louisiana 1920-1943: Little Walter,” 76. Herrmann’s Score for Vertigo,” 516; Leta E. Mller, “Cage, Cunningham, and American Popular Songs, by James Bennighof, (Sep/Oct 02): Dawayne Gilley and Brenda 369; rev. of Geoffrey C. Ward, Jazz: A History Haskins, “‘I’ve Been Blessed’: Henry Collaborators: The Odyssey of Variations V,” 545. (Win 01): Nancy Yunwa Rao, of America’s Music, by Brian Harker; rev. of Townsend [Part 2],” 27. (Dec 02): Barry Lee William Russell, comp., “Oh, Mister Jelly”: A Pearson, “Pine Bluff Blues: Cedell Davis,” 27. “American Compositional Theory in the 1930s: Scale and Exoticism in ‘The Nature of Jelly Roll Morton Scrapbook, by Edward MUSIC AND LETTERS Melody’ by Henry Cowell,” 595; Marianne Komara, 372; rev. of Stuart Nicholson, (May 02): Tim Carter, review article, “An Betz, “New Light on George Whitefield Reminiscing in Tempo: A Portrait of Duke American in . . . ?”, 274. (Aug 02): Rev. of Chadwick: Recent Discovery of Unknown Ellington, by Charles Hiroshi Garrett, 374; Christine Ammer, Unsung: A History of Material,” 641. rev. of Graham Lock, Blutopia: Visions of the Women in American Music, by Marcia J. Future and Revisions of the Past in the Work of Citron, 482. (Nov 02): Rev. of Carol J. Oja, MUSICAL TIMES Sun Ra, Duke Ellington, and Anthony Braxton, Making Music Modern: New York in the (Win 02): Arnold Whittall, “Echoes of Old by Emmett G. Price III, 375; rev. of Elijah Belief [Christian symbolism in Adams’s musi- 1920s, by Bob Gilmore, 646. (Feb 03): Rev. continued on page 24

24 The Bulletin of the Society for American Music • Vol. XXIX, No. 1 S OME R ECENT A RTICLES AND R EVIEWS continued from page 23 Noubel, Elliott Carter ou le temps fertile, by PERCUSSIVE NOTES Jean-Michel Boulay, 61; rev. of Irwin Chusid, (Aug 02): Payton Macdonald, “Crystals, Wald, Josh White: Society Blues, by David Songs in the Key of Z: The Curious Universe of Water, and Light: A Pitch Analysis of Evans, 377; rev. of Mark Slobin, Fiddler on Outsider Music, by Barbara White, 66; rev. of ‘Crystalline’ from Jacob Druckman’s the Move: Exploring the Klezmer World [in Richard Abel and Rick Altman, eds., The ‘Reflections on the Nature of Water,’” 40. America], by Alex Lubet, 380; rev. of Albert Sounds of Early Cinema, by Daniel (Feb 03): Patrick Roulet, “Milt Jackson and Glinsky, Theremin: Ether Music and Goldmark, 67; rev. of Nicholas E. Tawa, ‘Bags’ Groove,’” 6. Espionage, by Mark Polishook, 381. (Mar From Psalm to Symphony: A History of Music 02): Rev. of Richard Crawford, America’s in New England, by Ann L. Silverberg, 85. PERSPECTIVES OF NEW MUSIC Musical Life: A History, by Larry Starr, 552; (Dec 02): Rev. of Simon Frith, Will Straw, (Win 01): James Borders, “Form and the rev. of Daniel Albright, Untwisting the and John Street, eds., The Cambridge Concept Album: Aspects of Modernism in Serpent: Modernism in Music, Literature, and Companion to Pop and Rock, by Kevin Holm- Frank Zappa’s Early Releases,” 118. (Sum Other Arts, and W. Anthony Sheppard, Hudson, 313; rev. of Kevin Holm-Hudson, 01): Bill Alves, “Kembangan in the Music of Revealing Masks: Exotic Influences and ed,. Progressive Rock Reconsidered, by Albin J. Lou Harrison,” 29. (Win 02): Catherine Ritualized Performance in Modernist Musical Zak III, 317; rev. of Lori Burns and Melisse Pellegrino, “Aspects of Closure in the Music Theater, by Tamara Levitz, 556; rev. of Eileen Lafrance, Disruptive Divas: Feminism, Identity of John Adams,” 147. Southern and Josephine Wright, Images: and Popular Music, by Sheila Whiteley, 320; POPULAR MUSIC Iconography of Music in African-American rev. of Pamela Robertson Wojcik and Arthur (Jan 02: Michael Grimshaw, “‘Redneck Culture, 1770s-1920s, by Larry F. Ward, 576; Knight, eds., Soundtrack Available: Essays on Religion and Shitkickin’ Saviours?’: Gram rev. of Ronald Radano and Philip V. Film and Popular Music, by Cándida F. Parsons, Theology and Country Music,” 93. Bohlman, eds., Music and the Racial Jáquez, 326; rev. of David W. Bernstein and (May 02): Jason Middleton and Roger Imagination, by Melinda Russell, 578; rev. of Christopher Hatch, Writings Through John Beebe, “The Racial Politics of Hybridity and Edward Berger, David Cayer, Henry Martin, Cage’s Music, Poetry, and Art, by Amy C. Beal, ‘Neo-Electism’ in Contemporary Popular and Dan Morgenstern, eds., Annual Review 337; rev. of Daniel Mendoza de Arce, Music Music,” 159; Lloyd Whitesell, “Harmonic of Jazz Studies 9, 1997-98, by Michael Colby, in Ibero-America to 1850, by John Koegel, Palette in Early Joni Mitchell,” 173; Allan 610. (Jun 02): Rev. of Ellie M. Hisama, 365; rev. of Judith Tick, The Music of Moore, “Authentically and Authentication Gendering Musical Modernism: The Music of American Folk Song, and Selected Other [rap, rock],” 209; Alan O’Connor, “Local Ruth Crawford, Marion Bauer, and Miriam Writings on American Folk Music, by Sandra J. Scenes and Dangerous Crossroads: Punk and Gideon, by Elizabeth Crist, 805; rev. of Sheila Graham, 369. Theories of Cultural Hybridity,” 225. (Oct Whiteley, Women and Popular Music: 02): Keith Negus and John Street, Sexuality, Identity and Subjectivity, by Stan OPERA “Introduction to ‘Music and Television’ Hawkins, 815; rev. of Yolanda Broyles- (Oct 02): John Rockwell, “State of the Union Special Issue,” 245; Murray Forman, “‘One González, Lydia Mendoza’s Life in Music/La [Sondheim],” 1190. (Jan 03): Rodney Milnes, Night on TV is Worth Weeks at the historia de Lydia Mendoza: Norteño Tejano “The [Richard] Rodgers Centenary,” 34. Paramount’: Musicians and Opportunity in Legacies, and Chris Strachwitz, Lydia OPERA JOURNAL Early Television, 1948-1955,” 249; Simon Mendoza: A Family Autobiography, by Helena (Sep 01): Rev. of Wayne Schneider, ed., The Frith, “Look! Hear! The Uneasy Relationship Simonett, 817; rev. of Keith Potter, Four Gershwin Style: New Looks at the Music of of Music and Television,” 277; Karen Lury, Musical Minimalists: La Monte Young, Terry George Gershwin, by John Harrison, 85. “Chewing Gum for the Ears: Children’s Riley, Steve Reich, Philip Glass, by Jonathan W. Television and Popular Music,” 291; Bernard, 834; rev. of Will Clemens, ed., All THE OPERA QUARTERLY Matthew Stahl, “Authentic Boy Bands on Shook Up: Collected Poems about Elvis, by (Sum 02): Rev. of Elise K. Kirk, American TV? Performers and Impresarios in The Michael Adams, 836; rev. of George M. Opera, by Carl J. Ratner, 460. (Fall 02): Monkees and Making the Band,” 307; rev. of Logan, The Indiana University School of George Martin, “Verdi Onstage in the Anthony Elliott, The Mourning of John Music: A History, by Constance A. Mayer, United States: Oberto, conte di San Bonifacio,” Lennon, by Dónal Griffin, 377; rev. of 848; rev. of Elise K. Kirk, American Opera, by 469; Niel Rishoi, “Carousel, Rodgers and Barbara Ching, Wrong’s What I Do Best: Hard Brian Doherty, 852; rev. of Wilfred Mellers, Hammerstein’s Operatic Musical,” 534. Country Music and Contemporary Culture, by Singing in the Wilderness: Music and Ecology in S. Renee Dechert, 384; rev. of Kevin Holm- the Twentieth Century, by Nico Schüler, 856; ORCHESTER Hudson, Progressive Rock Reconsidered, by rev. of Andrew Clark, ed., Riffs and Choruses: (Nov 02): Hans-Jürgen Schaal, “Zwischen Chris Atton, 386. (Jan 03): Joanna Demers, A New Jazz Anthology, by Deborah L. allen Stühlen: Über den Kompoinsten Frank “Sampling the 1970s in Hip-Hop,” 41; Lee Gillaspie, 858; rev. of Thomas Hischak, Film Zappa (1940-1993),” 34. (Jan 03): Daniela Marshall, “For and Against the Record It with Music, by H. Stephen Wright, 859. Kohnen, “Musikwelten: Das Lincoln Center Industry: An Introduction to Bootleg (Sep 02): Rev. of Barry Kernfield, ed., The for the Performing Arts in New York,” 25. Collectors and Tape Traders,” 57; rev. of Fred New Grove Dictionary of Jazz, 2d ed., by (Feb 03): Bernd Wefelmeyer, “Musik zweiter Metting, The Unbroken Circle: Tradition and Gordon Theil, 45; rev. of Carol J. Oja, Klasse? Musik zum Film—eine Innovation in the Music of Ty Cooder and Taj Making Music Modern: New York in the Standortbestimmung [American film Mahal, by Timothy Taylor, 109; rev. of Andy 1920s, by Elizabeth Crist, 54; rev. of Max music],” 16.

The Bulletin of the Society for American Music • Vol. XXIX, No. 1 25 S OME R ECENT A RTICLES AND R EVIEWS

Bennett, Cultures of Popular Music, and Roy Deborah Pacini Hernandez, Bachata: A Social Modern Female Pop Stars,” 1; Rob Shuker, Understanding Popular Music, History of a Dominican Popular Music, by Rosenthal, “Serving the Movement: The Second Edition, by Brian Longhurst, 115. Donna Goldstein, 172; rev. of Roy Shuker, Role(s) of Music,” 11; Teresa Reed, “Elder Understanding Popular Music, by Tony Eatmore and Deacon Jones: Folk Religion as POPULAR MUSIC AND SOCIETY Mitchell, 175. (Fall 00): María Elena Cepeda, Humor in Black Secular Recordings, 1918- (Sum 00): Helena Simonett, “Popular Music “Mucho loco for Ricky Martin: or The Politics 1961,” 25; Wolfgang Ruttowski, “Cabaret and the Politics of Identity: The Empowering of Chronology, Crossover, and Language Songs [incl. popular song in U.S.],” 45; cur- Sound of Technobanda [L.A.],” 1; Jacqueline within the Latin(o) Music ‘Boom,’” 55; rev. rent bibliography #2, 73; rev. of Jeroen de Warwick, “‘Make Way for the Indian’: of Lee Ballinger, Lynyrd Skynyrd: An Oral Valk, Chet Baker: His Life and Music, by Bhangra Music and South Asian Presence in History, by S. Renee Dechert, 135; rev. of Timothy E. Scheurer, 181; rev. of Adam Toronto,” 25; Mark Duffett, “Transcending Carl Benson, ed., The Bob Dylan Krims, Rap Music and the Poetics of Identity, Audience Generalizations: Consumerism Compendium: Four Decades of Commentary, by Kevin M. Simmonds, 182; short reviews Reconsidered in the Case of Elvis Presley by Jerry Rodnitzky, 137; rev. of Marley Brant, of several books on The Grateful Dead, by Fans,” 75; Ian Inglis, “‘The Beatles Are Southern Rockers: The Roots and Legacy of Mark Rubinfeld, 185; rev. of George Nelson, Coming!’ Conjecture and Conviction in the Southern Rock, by S. Renee Decher, 138. Hip Hop America, by Mark Rubinfeld, 191; Myth of Kennedy, America, and the Beatles,” (Win 00): Garth Alper, “Making Sense Out rev. of Lisa Summer, Music: The New Age 93; Robert H. Bell, “Double [Bob] Dylan,” of Postmodern Music?”, 1; Michael Dunne, Elixir, by Susan Hadley, 194. 109; Jonathan Dueck, “Crossing the Street: “‘Tore Down A La Rimbaud’: Van Morrison’s Velour 100 and Christian Rock,” 127; rev. of References and Allusions,” 15; Mary Ellison, PSYCHOLOGY OF MUSIC John A. Jackson, American Bandstand: Dick “Subverting Commodification: Delfeayo (30/1 02): Mandi Miller and Kenneth Clark and the Making of a Rock ‘N’ Roll Marsalis and Jazz,” 31; Jill Tedford Jones, Strongman, “The Emotional Effects of Empire, by B. Lee Cooper, 149; rev. of Jay “The Delight of Words: The Elizabethan Music on Religious Experience: A Study of Warner, Billboard’s American Rock ‘n’ Roll in Sonneteers and American Country Lyricists,” the Pentecostal-Charismatic Style of Music Review, by B. Lee Cooper, 151; rev. of Frank 63; Michael Nelson, “Ol’ Red, White, and and Worship,” 8. Hoffmann, Dick Carty, and Quentin Riggs, Blue Eyes: Frank Sinatra and the American Billy Murray: The Phonograph Industry’s First Presidency,” 79; rev. of Christopher Small, RESEARCH STUDIES IN MUSIC EDU- Great Recording Artist, by B. Lee Cooper, 152; Music of the Common Tongue: Survival and CATION rev. of Reebee Garofalo, Rockin’ Out: Popular Celebration in African American Music, by (Dec 02): Bryan Burton and Peter Dunbar- Music in the U.S.A., by B. Lee Cooper, 155; George Yancy, 121; rev. of William E. Hall, “Teaching About and Through Native rev. of Richard Kostelanetz, comp., The B.B. Studwell and D.F. Lonergan, The Classic Rock American Musics: An Excursion into the King Companion: Five Decades of and Roll Reader: Rock Music from Its Cultural Politics of Music Education,” 56. Commentary, by B. Lee Cooper, 156; rev. of Beginnings to the Mid-1970s, by B. Lee Gary M. Krebs, The Rock and Roll Reader’s SPECTRUM Cooper, 124; rev. of Brenda Dixon (Jan 02): Vincenzo Caporaletti, “La Guide: A Comprehensive Guide to Books by Gottschild, Waltzing in the Dark: African and about Musicians and Their Music, by B. definizione dello swing. I fondamenti estetici American Vaudeville and Race Politics in the del jazz e delle musiche audiotattili,” 23. Lee Cooper, 158; rev. of Nathan Pearson, Swing Era, by Ronald D. Cohen, 125. Goin’ to Kansas City, by Patrick O’Connor, (Spr/Sum 01): Richard C. Spicer, “Popular STRAD 159; rev. of Guido Van Rijn, Roosevelt’s Blues, Song for Public Celebration in Federal (Jan 03): Martin Goldman, “Island by Patrick O’Connor, 159; rev. of Reebee Portsmouth, New Hampshire,” 1; Juanita Flowering: The Rise of String Music on Garofalo, Rockin’ Out: Popular Music in the Karpf, “‘Wild and Soul-Stirring’: William Puerto Rico,” 30. USA, by Kevin Prosnick, 161; rev. of B. Lee Bradbury’s Mountain Songs, 1847-1852,” Cooper and Wayne S. Haney, Rock Music in 101; Doug Seroff, “‘A Voice in the SYMPHONY American Popular Culture II: More Rock ‘n’ Wilderness’: The Fisk Jubilee Singers’ Civil (May-Jun 02): Steve Metcalf, “Melody Roll Resources, by Robert G. Weiner, 162; rev. Rights Tours of 1879-1882,” 131; Allen Maker: Bewitched, Bothered, and of William E. Studwell and Bruce Farmelo, “Another History of Bluegrass: The Bewildered by the Elusive Musicality of Schueneman, State Songs of the United States: Segregation of American Popular Music, Richard Rodgers,” 28. An Annotated Anthology, by Robert G. 1820-1900,” 179; Kalene Westmoreland, Weiner, 163; rev. of Bradley Smith, The “‘Bitch’ and Lillith Fair: Resisting Anger, 21ST CENTURY MUSIC Billboard Guide to Progressive Music, by Celebrating Contradictions,” 205; Alan (Sep 02): Keith Potter, “[American compos- Robert G. Weiner, 164; rev. of Sebastian Wells, “Nationality, Race, and Gender on the er] Earle Brown,” 6. Danchin, “Blues Boy”: The Life and Music of American Pop Charts: What Happened in UNIVERSITY OF TORONTO QUAR- B.B. King, by B. Lee Cooper, 166; rev. of the ‘90s?”, 221; Richard A. Peterson and Steve Otfinoski, The Golden Age of Rock TERLY Bruce A. Beal, [discographic essay] (Spr 02): John Beckwith, “Mark Burnham Instrumentals, by B. Lee Cooper, 168; rev. of “Alternative Country: Origins, Music, Kevin Hillstrom and Laurie Collier and Upper Canada’s First Tunebook, Colonial World-view, Fans, and Taste in Genre Harmonist, 623. Hillstrom, The Vietnam Experience: A Concise Formation,” 233. (Fall/Win 01): Linda Encyclopedia of American Literature, Songs, Lister, “Divavication: The Deification of and Films, by B. Lee Cooper, 170; rev. of continued on page 26

26 The Bulletin of the Society for American Music • Vol. XXIX, No. 1 S OME R ECENT A RTICLES AND R EVIEWS continued from page 25 THE WORLD OF MUSIC Nakai,” 61; Elaine Keillor, “Amerindians at (43/2-3 01): Rev. of Kai Fikentscher, “You the Rodeos and Their Music,” 75; Annette THE VOICE OF CHORUS AMERICA Better Work!”: Underground Dance Music in Chrétien, “Under the Double Eagle: From (Spr 03): John D. Sparks, “Americans Rank New York City, by Nicola Dibben, 245. (44/1 Military March to Métis Miziksharing,” 95; Choruses as #1 Form of Arts Participation,” 02): Karl Neuenfeldt, “An Overview of Case Karl Neuenfeldt, “www.nativeamericanmu- cover. Studies of Contemporary Native American sic.com: Marketing Recordings in an Music in Canada, the United States of Interconnected World,” 115; Anna WOMEN OF NOTE QUARTERLY America and on the Web,” 7; Beverly Hoefnagels, “Powwow Songs: Traveling (8/4 02): Thomas R. Erdmann, “Writing, Diamond, “Native American Contemporary Songs and Changing Protocol,” 127; Klisala Creating, and the Future of Music Music: The Women,” 11; Christopher A. Harrison, “The Kwagiulth Dancers: Dissemination: An Interview with Jazz Scales, “The Politics and Aesthetics of Addressing Intellectual Property Issues at Composer and Pianist Carla Bley,” 1; M.L. Recording: A Comparative Canadian Case Victoria’s First People’s Festival,” 137. (44/2 Corbin Sicoli, “Segregation, Sexism, Study of Powwow and Contemporary Native 02): Rev. of Yolanda Broyles-Gonzales, Lydia Sexuality and Spirituality in the Best Selling American Music,” 41; Paula Conlon, “The Mendoza’s Life in Music/La Historia de Lydia Songs of Summer 1998: Impediments to Native American Flute: Convergence and Mendoza: Norteño Tejano Legacies, by Amelia Creativity?”, 16. Collaboration as Exemplified by R. Carlos Maciszewski, 189.

I NDEX TO VOLUME XXVII (2002)

Compiled by Amy C. Beal Ethics Statement, 3:36-37. New of the Society. 3:36-37. From the Executive Director, 2:28; 3:36. Norton, Kay, a. “Baptist Offering, Southern Personal names are identified as author or Geil, Jean, a. “In Memory of Phyllis Midwife—Jesse Mercer’s Cluster of composer (a), compiler (c), editor (e), per- Danner,” 1:7. Spiritual Songs (1810): A Study in former (p), reviewer (r), translator (t), or Gibson, Joice Waterhouse, c. “Recent American Hymnody” (VanDyke, r), 2:29. subject (s); recordings and videos are differ- Articles and Research,” 1:9-13. Obituaries and Remembrances. Earle Brown entiated by the abbreviations rec or vid; Grants and Awards, 2:29-30. (Gresser, a), 3:39; Phyllis Danner (Geil, a; numbers refer to issue Number: Page(s). Gresser, Clemens, a. “In the Shadow of Montgomery, a), 1:7, and 3:40; John H. The editor welcomes criticisms and sugges- Cage and Feldman: In Memory of Earle D’Arms, 1:8; Norman Lockwood, 1:8; tions for future indexes. Brown,” 3:39. Leo Ornstein, 1:7-8; William Warfield Hopkinson (Francis), s, 1:1. (Lehrman, a), 3:39-40. “A Little Bit More on Phyllis Danner” “Index to Volume XXVII (2001),” (Beal, c), “On ‘Raynor’ vs. Rayner’ Taylor” (Clark, a), (Montgomery, a), 3:40. 1:16. 2:28. Awards of the Society for American Music. “In the Shadow of Cage and Feldman: In Pruett, Laura Moore, “Letter from Florida,” 2:32; 3:44. Memory of Earle Brown” (Gresser, a), 3:39. 2:28. “Baptist Offering, Southern Midwife—Jesse “It’s a Long, Long Way from Bordentown to “The Repassing of a Long-Passed Parade” Mercer’s Cluster of Spiritual Songs (1810): Japan! Francis Hopkinson (1737-1791)” (Klock, a), 3:34-35. A Study in American Hymnody” (Norton, (Myers, a), 1:1. Report from the Conference, 2:19-24. a; VanDyke, r), 2:29. Klock, Joe, a. “The Repassing of a Long- “RILM” (Coral, a), 1:4, 6. Beal, Amy, c. “Index to Volume XXVII Passed Parade,” 3:34-35. Schrader, Arthur, a. “Emotional Baggage (2001),” 1:14. “Letter from Florida” (Pruett, a), 2:28. and Two National Anthems,” 2:17-18. Bulletin Board, 1:5-6; 2: 31; 3:38. “Letter from the President” (Wells, a), 1:2; Society for American Music 2002 Silent Call for Papers, 1:2-3. 3:36. Auction, 2:25. Clark, Bunker, a. “On ‘Raynor’ vs. ‘Rayner’ Members in the News. Susan Cook, 2:27; Some Recent Articles and Reviews (Gibson, Taylor,” 2:28. Rob Haskins, 2:27; Ellie M. Hisama, 2:27; c), 1:9-13. Communications, 2:28; 3:41. Michael Meckna, 3:38; Jean Snyder, 2:27. VanDyke, Mary Louise, r. “Baptist Offering, Conference Announcements, 1:15; 2:26; Montgomery, R. Michael, a. “A Little Bit Southern Midwife—Jesse Mercer’s Cluster 3:41-42. More on Phyllis Danner,” 3:40. of Spiritual Songs (1810): A Study in Coral, Lenore, a. “RILM,” 1:4, 6. Myers, Gordon, a. “It’s a Long, Long Way American Hymnody” (Norton, a), 2:29. “Emotional Baggage and Two National from Bordentown to Japan! Francis Wells, Paul F., a. “Letter from the Anthems” (Schrader, a), 2:17-18. Hopkinson (1737-1791),” 1:1. President,” 1:2; 3:36. “Ernest Manheim: Sociologist, Nadia Boulanger and American Music Anthropologist, and Composer Turns 102,” (symposium announcement), 1:3. 3:33-34. New Members, 2:25.

The Bulletin of the Society for American Music • Vol. XXIX, No. 1 27 Awards of the Society for American Music

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

T HE BULLETIN OF THE Nonprofit org. S OCIETY FOR A MERICAN M USIC U.S. Postage PAID Pittsburgh, PA Stephen Foster Memorial Permit No. 5636 University of Pittsburgh Pittsburgh, PA 15260

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28 The Bulletin of the Society for American Music • Vol. XXIX, No. 1