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

Vol. XXXVI, No. 3 Fall 2010 Judith McCulloh Named NEA National Heritage Fellow

backstage, unaware she was “collecting” McCulloh’s contributions have been a or “doing fieldwork.” Her fascination major force in the preservation, under- with traditional music grew more serious standing, and documentation of American during her studies at Cottey College, folk culture. She has served as president of Ohio Wesleyan University, and Ohio the American Folklore Society and served State University. on the Board of Trustees of the American McCulloh completed her Ph.D. in Folklife Center at the Library of Congress folklore at Indiana University and spent at a time when her leadership and vision 35 years at the University of Illinois helped to save the center from dissolution Press, where her positions included execu- in the 1990s. She is currently an emerita tive editor, assistant director, and direc- member of the center’s Board of Trustees. tor of development. During this time McCulloh’s hard work and vigilance McCulloh spearheaded the renowned have been recognized on numerous occa- series Music in American Life, making sions, including a University of Illinois her an important force in expanding Chancellor’s Academic Professional and transforming music scholarship. The Excellence Award, an Ohio Wesleyan 130 titles she published cover all aspects Distinguished Achievement Citation, a of American music, including blues, Society for American Music Distinguished bluegrass, country, gospel, doowop, jazz, Service Award, an International Bluegrass rock, cowboy and railroad songs, min- Music Association Distinguished strelsy, zarzuela, opera, pow-wow, ghost Achievement Award, and an International Photo credit: MaryE Yeomans dance songs, brass bands, and community Country Music Conference Lifetime choruses. Series books examine instru- Achievement Award. She is a Fellow of Longtime SAM member and advo- ments from the banjo and the theremin the American Folklore Society and an cate for American music Judy McCulloh to the guitar in Baroque Mexico, and Honorary Member of the Society for has been named the 2010 Bess Lomax people from John Philip Sousa, Marian Ethnomusicology. Hawes National Heritage Fellow by the McPartland, Fritz Reiner, Fred Waring, National Endowment for the Arts. Citing Charles Ives, and Charles Seeger to Bill McCulloh’s work in folklore and the Monroe, Ralph Stanley, Hazel Dickens, in this issue: preservation of American folk materials, Bob Wills, Jimmie Rodgers, Fiddlin’ John the NEA issued the following statement. Carson, Aunt Molly Jackson, Robert Judith McCulloh: 33 As a devoted scholar, folklorist, and folk Johnson, Robert Winslow Gordon, National Heritage Fellow arts advocate, Judith McCulloh embodies Sarah Gertrude Knott, Tito Puente, and the very spirit of the Bess Lomax Hawes Elvis. Her music books garnered twenty MATA Honors Vivian 34 National Heritage Fellowship. ASCAP Awards. Perlis McCulloh was born in 1935 in Spring At the University of Illinois Press McCulloh also created the series Folklore Valley, Illinois, and grew up at Northmoor Preview of Cincinnati 34 Orchard near Peoria, where she helped and Society. These sixteen books, brack- her parents sell their apples and cider. At eted by Edward D. Ives’s George Magoon 2011 the National Folk Festival in St. Louis and the Down East Game War and in 1954 she systematically wrote down Archie Green’s Tin Men, stand as models Reviews 37 the words and music to songs she heard of folklore scholarship. MATA Honors Vivian Perlis young composers from around the world, sketches from composers John Adams, will honor SAM member Vivian Perlis at John Corigliano, and Steven Stuckey; the its annual benefit concert on September score of Jennifer Higdon’s Pulitzer Prize- 27, 2010, at the Chelsea Art Museum in winning, Violin Concerto, signed by the New York City. Perlis is being honored for composer; five pairs of tickets to upcom- her work as the founder and director of ing New York Philharmonic concerts, Oral History American Music (OHAM), including tickets to their CONTACT! a collection of more than 2,000 audio new music series; CDs signed by Philip and video recordings of interviews with Glass, Robert Wilson, all four members composers and other figures in twentieth of the Kronos Quartet, Pauline Oliveros century American musical life. Based and many more; limited edition litho- at Yale University, OHAM has recently graphs of original scores by Philip Glass, begun working with Yale University Press Meredith Monk, Pauline Oliveros and to publish transcriptions and recordings Laurie Anderson; signed copies of books of materials drawn from its vast archives. by Vivian Perlis; artwork by Eve Biddle, Perlis will be joined by fellow honoree co-director of the Wassaic Project and Frances Richard, the Vice President and an exclusive tour of the Wassaic Project’s Director of Concert Music for ASCAP. stunning festival grounds; and a mem- Philip Glass and Ralph Jackson will bership package to the Anthology Film present the honorees with awards, and Archives, MATA’s original home. All there will be performances by Gabriel proceeds from the benefit support com- Vivian Perlis and Aaron Copland Kahane, JACK Quartet, and Corey missions and performances of works by Dargel. In addition to the awards pre- young composers during MATA’s 2011 MATA (Music at the Anthology), a sentation and performances, the benefit Festival of New Music. For tickets or non-profit organization dedicated to will hold a silent auction of items includ- additional information, visit http://mata- commissioning and presenting works by ing handwritten and signed manuscript festival.org/. A Preview of Cincinnati 2011 The Society for American ucts of hog butchering), The Music will hold its 37th Kroger Company, Cincinnati Annual Conference with the Milacron, and Western-Southern International Association for the Insurance, along with a number Study of Popular Music from of other companies that con- March 9-13, 2011 in Cincinnati. tinue to be headquartered in the Located at the midpoint of the city. This lively business environ- Ohio River in the southwest- ment that exploited the city’s ern corner of Ohio, the city geographic location and position was so named in 1790 by the on the Ohio River fostered a Governor of the Northwest wide range of cultural institu- Territory for the Society of tions. Cincinnati boasts the fifth Cincinnati, an organization of oldest orchestra in the United former Revolutionary War offi- States (Cincinnati Symphony cers. During the nineteenth Orchestra [est. 1895]) and the century, it earned the appella- second oldest opera company tions of “Queen of the West” (Cincinnati Opera [est. 1920]), and “Porkopolis,” the former in his poem “Catawba Wine”: as well as the oldest continuous honor of its rapid expansion (by 1840 it And this Song of the Vine, choral festival in the Western hemisphere had grown to become the country’s sixth This greeting of mine, (May Festival [est. 1873]). The city’s rich largest city) and the latter for its dubious The winds and the birds shall deliver musical history includes the brief tenure distinction as the country’s chief hog To the Queen of the West, of an aspiring songwriter named Stephen packing center. (The city celebrates its In her garlands dressed, Foster in the nineteenth century to big debt to swine with an annual Goettafest, On the banks of the Beautiful River. band singer and actress Doris Day, bassist honoring goetta, a traditional German Bootsy Collins of Parliament-Funkadelic, dish, and the “Flying Pig Marathon.”) In By the end of the nineteenth century, and Maestro James Levine in the twen- 1854 Henry Wadsworth Longfellow paid Cincinnati was home to Proctor and tieth. tribute to Cincinnati in the final stanza of Gamble (soap being one of the byprod- continued on page 35

34 The Bulletin of the Society for American Music • Vol. XXXVI, No. 3 Railroad. Harriet Beecher Stowe based her anti-slavery novel Uncle Tom’s Cabin (1852) on first-hand experience of the secret routes and safe houses while living in Cincinnati. Today this portion of the city’s heritage is preserved in the National Underground Railroad Freedom Center, located on the riverfront between the sports stadiums for the Cincinnati Reds and Cincinnati Bengals. Our venue for the meeting will be the historic Hilton Cincinnati Netherland Plaza hotel, located at Vine and 5th Street (Israel Ludlow, who had surveyed Philadelphia, laid out the downtown grid with number streets running east–west, and primarily tree-named streets running south–north). Construction began on the hotel just a month before the 1929 Stock Market Crash, and it opened in 1931 during the Great Depression. Considered continued from page 34 “Over-the-Rhine.” Coined by the City’s to be one of the finest examples of German immigrants who began arriving French Art Deco in the United States, the Cincinnati’s Music Hall is probably its following the 1848 Revolutions, the term Netherland Plaza is a National Historic most prominent and enduring musical was intended to be tongue-in-cheek, as Landmark and charter member of the landmark. Built in 1878 for the third the area was north of the Miami-Erie Historic Hotels of America. In keeping May Festival with private money from a Canal, which bisected the city. Returning the period décor of rare rosewood panel- matching grant fund drive, the massive from work in downtown Cincinnati, ing, polished silver-nickel fixtures, and Victorian Gothic edifice (affectionately they would say they were going “over the soaring ceiling murals, jazz pianist Phil termed “Sauerbraten Gothic”) sits in Rhine.” The Ohio River made Cincinnati an area just north of downtown called an important stop on the Underground continued on page 36

The 2010 SAM Program Committee (L-R): Joshua Duchan, Gillian Rodger, Paul Wells, W. Anthony Shepard, and Maxine Fawcett-Yeske.

The Bulletin of the Society for American Music • Vol. XXXVI, No. 3 35 continued from page 35 will present a dynamic program of con- In addition, we will be meeting jointly temporary music. Founded in 1979 and for the first time with the International DeGreg will play for the opening recep- highly regarded for its performances of Association for the Study of Popular Music tion on Wednesday night, and the Blue and association with John Cage, the (IASPM), which promises to expand and Wisp Big Band will provide dining and Group has developed similar collabora- enrich the program offerings. The Local dancing accompaniment for Saturday’s tive relationships with such composers Arrangements Committee, chaired by banquet in the hotel’s Hall of Mirrors. as John Luther Adams, Qu Xiao-Song, bruce mcclung, is arranging an exciting Two concerts have been planned by and Russell Peck. The second concert will array of excursion options for Friday the host institution, Cincinnati’s College- be a Saturday matinee by CCM’s Wind afternoon. In March, the average highs Conservatory of Music (CCM). The Symphony. Its program will be an entirely are expected to be 55 degrees and the lows unusual hyphenated name of the conser- devoted to his music of “The March 33. Cincinnati is served the Cincinnati/ vatory preserves its two parent institutions: King” in celebration of the centenary of Northern Kentucky International Airport the Cincinnati Conservatory of Music, John Philip Sousa’s 1910–1911 World (CVG), a hub for Delta Airlines, as well founded in 1867 by Clara Baur, and the Tour. as Amtrak, Greyhound, and a Megabus College of Music of Cincinnati, estab- The Program Committee, chaired by from downtown Chicago. For those plan- lished in 1878 with Theodore Thomas as Gillian Rodger, has put together a slate ning to drive or carpool, Cincinnati is its first director. The competing musical of papers and lecture-recitals that aim to at the nexus of Interstates 70 (Utah to institutions merged in 1955 and seven represent the kind of diversity that has Maryland) and 75 (Michigan to Florida). years later became the fourteenth college long been characteristic of Cincinnati. Plan on attending the joint SAM/IASPM of the University of Cincinnati. On Sousa will be amply represented with meeting in Cincinnati—the Queen City! Thursday evening, CCM’s ensemble-in- several papers on his music, as well as a residence, Percussion Group Cincinnati, lecture-recital devoted to his World Tour. —Gillian Rodger and bruce mcclung

from the president our happy club—”institution” really feels seriously any number of ethnic, commer- too stuffy!—a gathering both scholarly cial, and blended traditions transplanted and social with a self-consciously fun- from Lower Slobovia to the wilds of loving and historical orientation. LA, Detroit, and Denver. The motto de The larger musicological world, or jour seems to be, “Musicology begins at at least the majority of the American home.” What are curious Americanists Musicological Society, wasn’t really to do? Where should our institutional paying attention then. Most of its main loyalty be placed? Have we in SAM suc- business pre-dated New England colonial ceeded in making our beloved society psalmody and was located in Europe. The redundant in just 35 years? Where do we ethnomusicologists were busy doing their go from here? fieldwork in Indonesia, Central Africa, I believe our challenge in the years and the Australian outback. That anyone ahead will be to do more than reclaim would care to study the music of her our “geographical content area.” Rather, own time and home territory seemed I hope that we can both multiply and shocking in those days—even to liber- redefine our perspectives. As students, als and anthropologists! American music aficionados, and private scholars, I think worthy of analysis, so the argument went, many SAM members (and prospective hardly existed at all. What was there to members) can help to engage with the study? As one of her professors, a brilliant substantial public audience beyond our medievalist, told my friend Abby when conferences and our classrooms who seek she expressed an interest in an American to appreciate, perform, create, sell, teach, Dear Friends and Colleagues, subject for her senior thesis at Oberlin and learn about American music in all its In 1975 a small cluster of American College in 1973, “My dear, you have no diversity. Such an expansion could take music enthusiasts—bibliophiles, per- imagination whatsoever!” any number of forms. However we recon- formers, teachers, and, yes, even a few Fast forward to the 21st century, and struct or refocus, the optimist in me sus- professors—met at Wesleyan University our imaginations are still being stoked by pects that it will pay off handsomely—in in Connecticut to organize a society American music. Our books and papers artistic, and even spiritual, terms—if we around their shared passion. Since Oscar are ever more specialized. In fact, at begin to give attention to it now. George Theodore Sonneck, something times it seems we are all Alice in Musical of a patron saint among music bibliogra- Wonderland, a topsy-turvy place indeed. phers, had died 47 years before, he could The AMS now hosts entire panels devoted Cordially, not be present or object to this eccentric to hip-hop, Hollywood film scores, and Tom Riis, President band’s use of his name. Thus was born avant-garde jazz. Ethnomusicologists take

36 The Bulletin of the Society for American Music • Vol. XXXVI, No. 3 STUDENT FORUM NEWS Looking Ahead to Cincinnati The annual meeting in Cincinnati is still far away, but preparations for Journal of the Society for American Music the Silent Auction and Student Forum Volume 4, Number 4 (November 2010) Panel are already underway. The Student Special Issue on Irish Music in the United States Forum organizes additional events at Guest Editors the meeting, and we are always looking Paul F. Wells and Sally K. Sommers Smith for volunteers to help. If you’d like to Contributor get involved, please contact one of the Foreword co-chairs: Allison Portnow (aportnow@ Irish Music and Musicians in the United States: An Introduction email.unc.edu) or Jennifer Myers (jenni- Paul F. Wells and Sally K. Sommers Smith [email protected]). To find Articles out more about the Student Forum, visit Elias Howe, William Bradbury Ryan, and Irish Music in Nineteenth-Century Boston our page on the SAM website and sign up Paul F. Wells for the Student Forum Listserv. An Eventful Life Remembered: Recent Considerations of the Contributions and Legacy of Francis O’Neill Silent Auction Sally K. Sommers Smith The Silent Auction, held annually Wheels of the World: How Recordings of Irish Traditional Music Bridged the Gap Between at the Society meetings, supports the Homeland and Diaspora Student Travel Endowment. As always, Scott Spencer we will be seeking donations of books, The McNulty Family audio/visual recordings, and other SAM Ted McGraw related materials for the auction. All Paddy Cronin: Musical Influences on a Sliabh Luachra Fiddle-Player in the United States donations are tax deductible, and they Matt Cranitch can be shipped in advance of the meeting ’Tis Like They Never Left: Locating “Home” in the Music of Sliabh Aughty’s Diaspora or brought directly to it. There will be an Tim Collins official call for donations in the next bul- No Yankee Doodling: Notable Trends and Traditional Recordings from Irish America letin, but we encourage everyone (both Earle Hitchner students and the general membership) to start thinking about items now to donate Reviews this year. Books The auction is coordinated entirely by John Koegel, Music in German Immigrant Theater: New York City, 1840–1940. Student Forum. If you would like to help Steven Ledbetter with planning, acquiring materials, or Michael V. Pisani, Imagining Native America in Music running the auction, please contact co- Victoria Lindsay Levine chair Jennifer Myers (jennifer-myers@u. Nicholas Michael Butler, Votaries of Apollo: The St. Cecilia Society and the Patronage of Concert northwestern.edu). You just might end Music in Charleston, South Carolina, 1766–1820 up finding your own treasures in the Kate Van Winkle Keller process. Recordings James Tenney: Selected Works 1961–1969 We look forward to seeing you in Michael Winter Cincinnati! Tania León, Singin’ Sepia James Spinazzola —Allison Portnow and Jennifer Myers Louise DiTullio, The Hollywood Flute Leonard L. Garrison

Multimedia Anita O’Day: The Life of a Jazz Singer. Robbie Cavala and Ian McCrudden, directors Katharine Cartwright

The Bulletin of the Society for American Music • Vol. XXXVI, No. 3 37 book review

Come In and Hear the Truth: Jazz and Race on 52nd Street, Patrick Burke. University of Chicago Press, 2008. 314pp. ISBN: 978-0- 2260-80710. Hardcover.

been written elsewhere. Through reex- the Paul Whiteman band, Eddie Condon, – Peter Kenagy amining 52nd Street’s key figures and and assorted members of Local 802 gath- marginalized participants to look beyond ered for the camaraderie, networking, By the late 1940s Americans were an essentialist jazz canon, Burke provides relaxation, and inevitable jamming in flocking to nightclubs on a half-mile a clearer window into social dynam- pickup groups. Burke gives us a fas- stretch of West 52nd Street between ics—how events were perceived, and by cinating glimpse into this boys’ club Fifth and Seventh Avenues to hear iconic whom—than was previously available. atmosphere—or “bachelor subculture” figures in the art of jazz. With giants such Asking many questions and providing (19)—and how it became a proving as Art Tatum, Billie Holiday, and Dizzy few answers, Burke explores complexi- ground away from popular audiences, Gillespie often performing in adjacent ties rather than chiseling out a singular establishing what the musicians felt was clubs, it is no wonder that this era and view of history. In doing so, he makes an authentic and intimate reaction to the street came to hold a special place in the wonderful use of period sources such as inauthentic nature of Broadway’s mass American musical imagination. There, oral histories, black newspapers, early entertainment culture. a mixture of musical styles was packed jazz criticism, and the jazz and popular Prohibition ended in December 1933, into one locale, where the traditional jazz music press, to offer a range of perspec- turning this underground world inside of New Orleans and Chicago enjoyed a tives from the time. Though the book out, and these musicians were soon revival, small combos retained something doggedly upholds a pluralistic orienta- playing in legitimate venues for audi- of the Swing Era’s thunder and tender- tion—particularly with respect to various ences hungry for “authentic” jazz. While ness, and Harlem’s ultra-modern bebop African American subcultures and early impromptu jamming continued in clubs, challenged the status quo. white jazz musicians who existed as a Broadway audiences craved entertain- Long before this postwar zenith of art counterculture—Come In and Hear the ment, so shows often combined jazz with and appreciation, the 52nd Street jazz Truth offers a remarkable account of the comedy and novelty acts. In one of Burke’s scene developed in an era defined by the unstable nature of musical and racial cat- standout examples, the Italian American Great Depression, Prohibition, and Jim egories. Burke’s work ultimately urges us Louis Prima offered an imitative version Crow segregation. Patrick Burke’s Come to consider “music’s role in creating and of black identity in his performances In and Hear the Truth: Jazz and Race on conveying ideas of racial identity” (9). at the Famous Door in 1934. His style 52nd Street, explores a site that began Burke works chronologically, with each owed much both to Louis Armstrong and in the 1920s as a space apart from the chapter focusing on a musician or group Prima’s own New Orleans heritage, and in glitter of the Broadway theater district, of related musicians. His favorite mode fact, Burke shows, Prima passed as black and became home to a cadre of white is the depiction of opposites, be they of to national radio audiences and on stage, musicians who found themselves strad- race, authenticity, style, commerciality, representing blackness to whites before dling the fence between authentic jazz sexuality, or place. Burke requires us to black performers brought their own iden- and more lucrative popular music. Burke begin by accepting these categories, and tity to 52nd Street. demonstrates how this underground then works to undermine their rigidity Burke gives us a contrasting portrait scene of both earnest and naïve yearn- by demonstrating the tremendous degree of violinist Stuff Smith, the first success- ings developed into a thriving center, a of overlap and collaboration within the ful African American artist to reach a meeting point for divergent cultures and 52nd Street milieu. Nevertheless, the fas- wide popular audience in this develop- classes where jazz could be both an art cination of reading this book is arriving ing scene. Smith arrived in 1936, and and a commodity. Burke shows that while at a deeper understanding of the social asserted a black identity while clearly it was far from a racial utopia, the 52nd dynamics of a moment when so much and cleverly accommodating the expecta- Street scene was a place where white and great original music was played within a tions of white audiences. Burke shows black cultures interacted to define racial two-block stretch. Smith to be a pioneering black figure, and musical attitudes, decades before the Burke sets us down at the twilight able to adopt and also subvert popular national Civil Rights movement. of prohibition in Midtown of the late expectations, while delivering an artful The “truth” Burke invites us to come 1920s, when white musicians who made product valued by musicians and insiders. in and hear is that music and race were their living in popular theaters, recording Smith’s example paved the way for other both “pervasive and elusive” (5) notions studios, and dance halls congregated in black artists who more directly challenged in the minds of those present on 52nd small spaces such as the original Onyx stereotypes. Burke compares Smith to Street. Burke is interested in much more Club (1930–1934) on 52nd Street. Early John Kirby and Maxine Sullivan, who than the mere rise and fall of this musical jazz stars like Bunny Berigan, Benny conformed less to expectations of both scene, and indeed the musical history of Goodman, Jimmy and Tommy Dorsey, 52nd Street between 1930 and 1950 has Bix Beiderbecke and other members of continued on page 39

38 The Bulletin of the Society for American Music • Vol. XXXVI, No. 3 continued from page 38 him national fame through live radio sive bibliography, and perhaps a selected broadcasts; Joe Marsala as the first white discography. whites and blacks, were less extroverted, bandleader to hire black musicians in Ideas of jazz and race have been closely more refined and subtle, and less prone large numbers; and the arrival of bebop bound together since the beginning, and to novelty or comedy. and its marketing as a musical counter- many writers have plumbed these depths. Burke’s history outlines the continued part to black youth hipster culture. Burke In Come In and Hear the Truth, Burke growth of the Street through the late thir- focuses special attention on the push and has given us a study of jazz and race at ties and forties until its ultimate demise pull of social forces in these more-or-less a legendary moment, revealing the full around 1950. With much documenta- familiar episodes. social complexity of an important chapter tion of who was performing where and Of particular value is Burke’s appendix, in the history of American music. This how they were received, Burke avoids which charts the location of jazz clubs welcome book serves a wide readership, regurgitating familiar biography. We get on 52nd Street from 1930 to 1950. This opening a dialogue in which ideas about glimpses into the height of the Swing much-needed reference vividly illustrates jazz and race, gender, class, and com- Era, when Ben Webster, Roy Eldridge, the proximity of various clubs, the fre- merce supplant the timeworn jazz-history and Coleman Hawkins collaborated and quent rise and fall of clubs in general, tropes of stylistic evolution, innovations, led small groups—and Burke demon- and the relocation of particular clubs as and unsung heroes. Burke’s work builds strates how these great solo personali- they shuffled about over time—such as bridges across specialized disciplines and ties became a type of commodity, as the four incarnations of the Onyx. This engages recent discourse while remaining audiences came to expect the kind of will be a useful resource for future studies a readable and jargon-free history that self-expression artists like these offered. of the period. The lengthy end notes for any student of music, race, or culture will Other highlights include Count Basie’s each chapter are appreciated, but the value. stand at the Famous Door that brought book would benefit from a comprehen-

The Real Hiphop: Battling for Knowledge, Power, and Respect in the LA Underground, Marcyliena Morgan. Duke University Press, 2009. 224pp. ISBN: 978-0-8223-4385-1. Paper.

cities. the workshop as part of a historically- – Carrie Allen In the introduction, “I Am Hiphop,” Black neighborhood, exploring the con- Morgan positions the Good Life/Project flicting social and political values between In her The Real Hiphop: Battling for Blowed workshop as a vibrant and con- the older generation of African American Knowledge, Power, and Respect in the LA structive creative outlet for urban youth, shop owners and the hip hop youths that Underground, Marcyliena Morgan, a in contrast to the gangsta rap ethos that began congregating in the area because of Professor of African and African American constituted much of the Los Angeles hip the freestyle workshop. Studies and Executive Director of the hop scene of the 1990s. The introduction In the lengthy and more abstract second Hiphop Archive at Harvard University, reviews the emergence of hip hop studies chapter, “Welcome to the Underground: provides an ethnology of Los Angeles’s in academia, situates Morgan as an aca- Building Hiphop Culture and Language,” Good Life/Project Blowed. This was demic trailblazer in those studies, outlines Morgan moves the rhetorical camera a Thursday night freestyle rap venue/ the book’s focus on hip-hop language ide- backwards from the underground scene workshop that began in the Crenshaw ology and social values, and historicizes in Los Angeles to provide panoramic neighborhood in 1994. At the work- the concept of the hip hop underground insights into hip hop’s broader culture. shop, MCs from around the city met by linking it to earlier African American The first of these is a detailed account of to develop, challenge, and critique each alternative spaces of political and discur- how youth are socialized into hip hop. other’s improvised rap performances. sive resistance. Here Morgan identifies types of partici- Morgan uses a sociolinguistic approach to Chapter One, “The Hippest Corner pants and outlines the activities, phases examine the language ideologies embed- in LA,” describes the social and historical of participation, and levels of commit- ded in both this particular Los Angeles development of the Good Life/Project ment to hip hop culture that each group community and in hip hop more gener- Blowed in the context of the city’s ethnic manifests. Second, Morgan historicizes ally. Her study foregrounds the role of diversity and the political, legislative, cultural and philosophical elements of language in carving out a discursive space and economic developments that severely hip hop as both in continuity with and in for marginalized youths of color to repre- marginalized California’s youth in the conflict with previous African American sent their perspectives, goals, ambitions, 1990s. The chapter uses interviews to cultural movements. The chapter also and values. Organized into an introduc- recount the stories of two adults who covers the types of cultural knowledge tion and six chapters, Morgan’s data materially and emotionally supported the that successful MCs possess, and explains and analyses emerged from seven years underground hip hop workshop, includ- how audience members critique that of fieldwork in Los Angeles and twenty ing the conflicts they initially harbored knowledge. Finally, the chapter includes years spent observing and participating in over hip hop’s aesthetic and cultural a detailed discussion of the discursive hip hop culture in other North American values. The chapter also contextualizes strategies and linguistic dimensions of continued on page 40

The Bulletin of the Society for American Music • Vol. XXXVI, No. 3 39 continued from page 39 responding to complaints of older African Weaknesses in the work seem to be the American merchants in the neighbor- inverse of its strengths. For example, the hip hop, illuminating ways in which hip hood. Morgan uses the intergenerational combination of localized and generalized hop participants use language creatively conflict surrounding the raid, and the discussions of hip hop culture, while to construct meaning and social identity. discursive practices accompanying that informative, is occasionally confusing. Chapter Three, “Thursday Night at conflict, as a window into examining how Chapter Two, which deals with hip hop Project Blowed,” returns to an explicit hip hop’s social values and perspectives language and culture as a whole, is sand- focus on the Los Angeles hip hop under- often contest the cherished Black politi- wiched between two chapters focused on ground with an ethnographic account cal and religious ideologies of many older the underground scene in Los Angeles, of an evening at the freestyle workshop, African Americans. resulting in a slightly disorienting break contextualized within vividly-described Chapter Six, “It’s Hiphop Nation Time: in the book’s narrative stream. The book’s neighborhood sights, sounds, and smells. Enter the KAOS” is a brief summary of exclusive focus on language in hip hop, The chapter includes social, linguistic, the “discourse strategies” (19) of under- while a clearly-defined parameter of and historical interpretations of tran- ground hip hop that emphasizes once Morgan’s study and the locus of many scribed freestyle performances and the again ways in which hip hop culture rich insights, may frustrate music schol- audience’s critique of these performances. constitutes both a continuation of, and ars, and the sonic dimensions of hip hop Morgan gives particular attention to the a fundamental break with, older African could have been addressed more robustly. rap “battle” tradition, including a tran- American cultural movements and politi- Even in the context of improvised, live, scription of a lyrical battle and an analysis cal ideologies. Following the summary is freestyle rapping, which typically fea- that grounds the battle ethos within hip an explanation of transcription conven- tures a much sparser musical/rhythmic hop’s broader valorization of knowledge, tions and a glossary of terms unique to accompaniment to the text than a com- lyrical skill, competitiveness, respect, hip hop culture (a standard feature of mercially-produced album, the DJ still and public critique. The chapter also much academic writing on the genre). makes musical decisions, and Morgan includes photos of participants and audi- The book’s contributions to rap and provides no detailed discussion of sample ence members from the workshop, a long hip hop studies are numerous and impor- or beat selections or turntable techniques list of MCs who performed regularly at tant. Although many scholars of hip hop such as scratching or punch-fading. Also, Project Blowed from 1994 to 2000, and a have conducted occasional interviews in Morgan’s definition of a rapper’s “flow” copy of Project Blowed’s bylaws. their research, Morgan’s sustained ethno- foregrounds linguistic dimensions to the Chapter Four combines a close focus graphic documentation of a localized hip detriment of musical components, unfor- on female MCs in the Los Angeles under- hop culture is only one of a handful of such tunately without pointing the reader to ground with generalized assessments studies based in North America (see also other scholarship that deals with the about women in hip hop. “(Ph)eminists studies by Greg Dimitriadis, Ali Colleen musical dimensions of “flow,” such as the of the New School: Real Women, Tough Neff, and Marc Lamont Hill). Second, work of Tricia Rose, Adam Krims, and Politics, and Female Science” focuses on Morgan’s research is the only scholarship Felicia Miyakawa. how these women’s rhymes critique repre- to engage with “underground” female Since Morgan’s book is a focused eth- sentations of Black gender roles, sexuality, MCs rather than reading the recordings nography and does not include a compre- and romantic and social relationships. and videos of mainstream, commercially- hensive linear historical narrative of hip Morgan analyzes performances by two successful female rappers (for examples hop’s development, it assumes some prior female MCs from Los Angeles, each with of these analyses, see the work of Tricia knowledge of the genre’s styles, terminol- a radically different vision of represent- Rose, Cheryl Keyes, Imani Perry, and ogy, and history. The streamlined writing ing her own sexuality and desire. She Jeffrey Ogbar). Third, Morgan is one of style, which is free of overt critical theory historicizes these and other acts of lyrical the first scholars to discuss West Coast and full of clear explanations of linguis- self-representation and cultural critique rap traditions other than gangsta rap, tic terms, will, however, be accessible to by linking female rappers’ lyrics to classic thus diversifying earlier research on that many readers. Due to the study’s delimi- blues singers’ representations of Black region’s hip hop scene by Robin Kelley, tations concerning language, if used in a working-class womanhood. Morgan Cheryl Keyes, and Eithne Quinn. Fourth, college music course, the book might be also uses Nina Simone’s “Four Women” her focus on inter-generational conflict assigned in tandem with scholarship that and contemporary rapper’s Talib Kweli’s in an African American neighborhood engages the musical elements of rap and reframing of Simone’s lyrics to explore surrounding hip hop youths’ perspectives hip hop culture. broader representations of Black women on Black politics and racial progress is in mainstream society and in hip hop. unique in the literature; it reifies in local- Works Referenced: In Chapter Five, “Politics, Discourse, ized detail broad-scale perceptions on the Boyd, Todd. The New H.N.I.C.: The Death and Drama: ‘Respect Due,’” Morgan subject previously noted by scholars such of Civil Rights and the Reign of Hip Hop. New York: New York University Press, 2003. shifts once again to a broader view, dis- as Todd Boyd and Michael Eric Dyson. cussing how “hip hop discourse shapes Fifth, her focus on the development, Dmitriadis, Greg. Performing Identity, spiritual life and political opinions and analysis, and peer-critique of lyrical skills Performing Culture: Hip Hop as Text, Pedagogy, attitudes” (19). Morgan’s focal point for is unique in the literature in its extensive and Lived Practice. New York: Peter Lang, 2001. exploring these issues is her interpretation detail, as are the numerous freestyle raps of a 1996 police raid on Project Blowed. she transcribed in order to explore these Dyson, Michael Eric. Foreword. In That’s the According to Morgan, the police were dimensions of hip hop. continued on page 41

40 The Bulletin of the Society for American Music • Vol. XXXVI, No. 3 continued from page 40 Keyes, Cheryl. Rap Music and Street Ogbar, Jeffrey O.G. Hip-Hop Revolution: Joint! The Hip-Hop Studies Reader. Murray Consciousness. Urbana: University of Illinois The Culture and Politics of Rap. Lawrence: Forman and Mark Anthony Neal, eds., xi–xiv. Press, 2002. University Press of Kansas, 2007. New York: Routledge, 2004. Krims, Adam. Rap Music and the Poetics of Rose, Tricia. Black Noise: Rap Music and Black Hill, Marc Lamont. Beats, Rhymes, and Identity. Cambridge: Cambridge University Culture in Contemporary America. Hanover: Classroom Life: Hip-Hop Pedagogy and the Press, 2000. Wesleyan University Press, 1994. Politics of Identity. Teachers College Press, 2009. Miyakawa, Felicia. Five Percenter Rap: God Hop’s Perry, Imani. Prophets of the Hood: Politics and Kelley, Robin D. G. “Kickin’ Reality, Kickin’ Music, Message, and Black Muslim Mission. Poetics in Hip-Hop. Durham: Duke University Ballistics: Gangsta Rap and Postindustrial Los Bloomington: Indiana University Press, 2005. Press, 2004. Angeles.” In Droppin’ Science: Critical Essays on Rap Music and Hip Hop Culture. William Eric Neff, Ali Colleen. Let the World Listen Right: Quinn, Eithne. Nuthin’ But a “G” Thang: The Perkins, ed., 117–58. Philadelphia: Temple The Mississippi Delta Hip-Hop Story. Jackson: Culture and Commerce of Gangsta Rap. New University Press, 1996. University Press of Mississippi, 2009. York: Columbia University Press, 2005. bulletin board Flutist Peter H. Bloom gave a number of Library” section of the site. Your ques- tary, and Ben Pasternack performing the performances of wide-ranging American tions and comments are very welcome. Harrison Piano Concerto. The Stravinsky repertoire during Winter/Spring 2010. You can contact the Library directly at festival is a subversive escapade built Highlights included centennial celebra- [email protected]. around the pianist Alexander Toradze; the tions of jazz great Mary Lou Williams ensemble will also feature the American with the Aardvark Jazz Orchestra at Louis Goldstein’s recording of Morton premiere of the pianola version of Les Boston College and Stonehill College; Feldman’s For Bunita Marcus was released Noces, and more. Details are available at a solo recital of music by Sidney Lanier on June 1, 2010, by nuscope recordings Horowitz’s blog: www.artsjournal.com/ for Historic Macon (GA), performed (www.nuscoperec.com) Goldstein’s inter- uq. on a period flute by illustrious New pretation of Feldman’s Triadic Memories York maker Alfred G. Badger (1815- is considered one of the best of all of the Thomas Jacobsen has launched a new 1892); concerts/workshops for the Vortex currently available versions. According music website, www.neworleansnotes. Series of New and Improvised Music, to Grant Chu Covell at the La Folia com, designed to provide current news including a performance of TIPS by website, “This has got to be 2010’s best about the traditional jazz scene in New Steve Lacy; and performances with The piano recording. These two discs (Triadic Orleans. Karl Henning Ensemble featuring new Memories coupled with John Cage’s works by Henning. In various chamber One5) had better garner prizes and com- Ralph P. Locke’s book Musical Exoticism: ensembles, Bloom performed music by mendations throughout the industry or Images and Reflections—which contains Aaron Copland, Elizabeth Vercoe, John else Western Civilization is coming to discussion of many American works, by Cage, and other American composers at an end. Everything comes together in such composers as Hovhaness, Bernstein, venues in New England, New York and this phenomenally well-recorded 2 CD and Reich, and also a Josephine Baker New Jersey. Capping off the Aardvark set. The piano is rich and closely miked, song—has gathered additional positive Jazz Orchestra’s 37th season, Bloom and and the piano’s tuning is superb. Louis reviews. Early Music calls it “a masterful the band joined the MIT Symphony Goldstein plays with control and deli- study . . . [which] promises to be the Orchestra in Nelson Riddle’s arrange- cacy.” This version of For Bunita Marcus, benchmark work in this area for some ments of music from the film Can-Can, which will soon be available on HDTracks time, and one to which all scholars should and showcased new music by Aardvark as a download and audiophile (44.1/24 refer. . . .” Locke edits the University of director Mark Harvey, including the pre- FLAC) download, includes an 8-page Rochester Press’s series Eastman Studies in miere of The Lion, Harvey’s tribute to booklet with liner notes from Dallas- Music, which has recently published two the late Senator Edward M. Kennedy. based musicologist Laurie Shulman and titles on American music: John Koegel’s For more information, email phbloom@ abstract expressionist artwork from the Music in German Immigrant Theater: comcast.net or visit www.americasmusic- Modern Art Museum of Fort Worth by New York City, 1840-1940 and Peter works.com. Philip Guston, one of Morton Feldman’s Dickinson’s Samuel Barber Remembered: long-time friends. A Centenary Tribute. Jonathan Elkus announces that after years of relative obscurity, the Paramount Joseph Horowitz’s Post-Classical bruce d. mcclung (University of Theatre Music Library now has a public Ensemble has just announced its 2010- Cincinnati)’s book Lady in the Dark: face at http://paramounttheatremusicli- 2011 season: Gershwin, Lou Harrison, Biography of a Musical, has received a 2008 brary.org. Its next important milestone and Stravinsky festivals. The Gershwin ASCAP/Deems Taylor Award, the 2007 will be a searchable online catalog. This participants include the music historian Kurt Weill Prize, and a 2006 Special Jury is a work in progress which can be Rich Crawford and a Russian virtuoso Prize/George Freedley Memorial Award expedited by increases in both volunteer who improvises. The Harrison festival from the Theatre Library Association, in time and in income. Meanwhile, consult includes the world premiere of Eva Soltes’ the guidelines in the “How To Use the long-awaited Lou Harrison documen- continued on page 42

The Bulletin of the Society for American Music • Vol. XXXVI, No. 3 41 bulletin board continued from page 41 Kiri Miller, Assistant Professor of staff, to overseeing the set-up of the Music and Latin American Studies at Center’s physical space. Starting with only addition to numerous favorable reviews Brown University, has been awarded an a concept, Wells built the Center’s library and citations. Studies in Musical Theatre ACLS Fellowship for her project Virtual and archive into one of the country’s calls it “a prototype for how future ‘biog- Performance: Interactive Digital Media finest popular music research collections, raphies’ of other shows might be written,” and Amateur Musicianship. one that is used by scholars around the and The Kurt Weill Newsletter termed it world. He was recently awarded Emeritus “a fine piece of work that should help Paul F. Wells, who served as the President status by MTSU. He now makes his nudge studies of the Broadway musical of SAM from 2001-2003, retired from home in West Kennebunk, Maine where in significant new directions by proving his position as Director of the Center for he is co-editing (with Sally K. Sommers the benefits of careful attention to sources Popular Music at Middle Tennessee State Smith) a special issue of JSAM devoted and contexts.” This summer mcclung University on April 1, 2010, a position he to Irish music in America; forging ahead received an NEH Summer Stipend for his had held since 1985. As the first director with an edition of fiddle tunes for the book project “The World of Tomorrow: of the Center, Wells guided every aspect MUSA series; honing his chops on fiddle Music and the 1939 New York World’s of its development, from laying the intel- and flute; and pursuing his extra-musical Fair.” lectual foundations on which its collec- passions for birding and photography. tions and programs are based, to hiring

OBITUARY Julian H. Mates, of Glen Cove, died Hofstra and then at C.W. Post for close on July 17, 2010 at age 83. He was to 50 years. He graduated from Brooklyn a celebrated scholar of the American College in 1949 and earned a doctorate Musical Theatre, founder of the School of from Columbia University in 1959. He Visual and Performing Arts at the C.W. published numerous academic articles Post Campus, and host of the Sonneck and books, including The American Society’s very successful musical theater Musical Stage before 1800. He served in conference at that campus in 1981. It was the Navy during WWII. the first Sonneck conference involving A memorial service will be held on cooperation with other societies, being Sunday, October 10, at 11:00 AM in the the joint effort of the Theatre Library Chapel at the C. W. Post campus, with a Association and the American Society reception to follow. for Theatre Research. Greenwood Press published the papers and proceedings of that conference in 1984 under the title Musical Theatre in America, edited by Glenn Loney. Mates was professor of English at

The Society for American Music is pleased to welcome these new members

Robert Allen, Brooklyn, NY Olga Manulkina, St. Petersburg, Russia Christina L. Baade, Hamilton, ON Nina Ohman, Philadelphia, PA Alexandre Badue, Cincinnati, OH Jeffrey Perry, Baton Rouge, LA William Boone, Chapel Hill, NC Christopher Phillpott, Tallahassee, FL Myles Boothroyd, Traverse City, MI John Stanislawski, Rosholt, WI Russell Cranson, Springfield, IL Kelly St. Pierre, Cleveland, OH Tony Dumas, Davis, CA Peter Williams, Lawrence, KS Devora Geller, Brooklyn, NY James Wintle, Alexandria, VA Rolf Groesbeck, Little Rock, AR Megan Woller, Champaign, IL Maria Guarino, Richmond, VA Marcelo Hazan, Fort Mill, SC Karianne Jones, Kirksville, MO

42 The Bulletin of the Society for American Music • Vol. XXXVI, No. 3 The Eastman School of Music offers Patrick Macey, Chair Honey Meconi Renaissance music and culture in Medieval and Renaissance music, graduate students in musicology the Italy and France, Josquin, music manuscript culture, Hildegard, opportunity to pursue a PhD in the and rhetoric musical borrowing context of a thriving music school with Michael Alan Anderson Holly Watkins an incomparable research library. Medieval and Renaissance music, 19th- and 20th-century music, Thanks to a large and distinguished Saints, the DivineOffice, Popular historical and contemporary ritual, politics aesthetics, ecocriticism, faculty, students enjoy exposure to all popular music areas of the discipline, with additional Melina Esse 19th-century opera and Daniel Zager opportunities for advanced study in melodrama, film music, gender Renaissance and Baroque music, ethnomusicology (including a new Master and performance studies Lassus, church music history of Arts degree), early music, music Roger Freitas SENioR FAcuLty ASSociAtES theory, and performance. Graduate 17th-century music (especially Jürgen thym the cantata), performance 19th-century music, German students receive generous stipends, with practices, the castrato Lieder, 19th-century symphony, music and text relations support normally assured for five years. Lisa Jakelski Alumni of the program hold positions at 20th-21st century music, musical Gretchen Wheelock top-ranked institutions and have become expression and social/political 18th-century music, Haydn and practices, with emphasis on Mozart, historical performance leaders in the field. music post-1945 practices, reception history

Ellen Koskoff AFFiLiAtE FAcuLty Ethnomusicology, American Priority application deadline November 1 musics, women and music, Hans Davidsson Balinese music and culture Final application deadline December 1 Robert D. Morris Kim Kowalke Paul o’Dette www.esm.rochester.edu/musicology 20th-century musical theater and opera, Sondheim, Hindemith, EMERitA and Weill Kerala Snyder Ralph P. Locke Exoticism and nationalism, music culture in 19th-century France and Italy, opera, gender issues

10ESM_SAM.indd 1 8/10/10 3:41 PM

ANNOUNCEMENT OF A FACULTY POSITION IN MUSICOLOGY WITH AN EMPHASIS IN AMERICAN MUSIC

Carleton College invites applications for a tenure-track position at the Assistant Professor level in musicology with an emphasis in American music to begin September 1, 2011. We seek a musicologist who is a dynamic classroom teacher with a breadth of experience in and continuing commitment to the study of a wide variety of music in a liberal arts setting. The successful candidate will continue, expand and enrich our course offerings in popular music in areas such as, but not restricted to, jazz, rock, pop, and hip hop as well as more traditional areas of music history. Depending on the successful candidate's areas of expertise, the position could possibly, but not necessarily, include applied teaching such as ensemble direction and/or private lessons. We seek candidates committed to teaching, mentoring, and advising a diverse student body. PhD or its imminent completion is required. To apply please send the following electronically in PDF format to [email protected] by December 1, 2010: a letter of application, a CV, statements describing your teaching philosophy and your research, three confidential reference letters, graduate transcripts, and a writing sample. No supplementary materials until requested.

Carleton is a small, highly selective liberal arts college of 1,950 students located 45 miles south of the Twin Cities of Minneapolis and St. Paul. The Department of Music includes nine full-time and over thirty part-time faculty members with specialties in ethnomusicology, performance, theory, and musicology. Over 800 students participate in musical activities during each term of the academic year. The Department offers the BA with a major in music. Carleton College is committed to developing our faculty to better reflect the diversity of our student body and American society. Minority candidates and women are particularly encouraged to apply.

conference calendar

CFP: The International Association for include both overview language and ship and creative activities and for discus- the Study of Popular Music, U.S. Chapter individual proposals/ bios, or overview sions among those engaging in feminist (IASPM-US) will hold its annual confer- and bios only for roundtable discussions. research. Themes of particular interest ence Mar. 9-13, 2011 in Cincinnati, OH, We welcome unorthodox proposals and include pioneers, women exploring inter- in a joint meeting with the Society for proposals aimed explicitly at a general disciplinary and digital arts, eco-musics, American Music. This year’s conference interest audience. Registration is free for music education, as well as music and title is “Time Keeps on Slipping: Popular presenters and the public. For more infor- healing. We also accept proposals on any Music Histories.” We welcome proposals mation, go to http://www.empsfm.org/ other topic relating to all categories of concerning all facets of popular music education/. music and gender. Please submit 300- in the U.S. and abroad, but especially word abstracts (along with the presenta- encourage submissions that address the CFP: The Research Groups I.D.E.A. tion’s proposed title, equipment request, a themes: Canonical Histories; Alternative (“Interdisciplinarité dans les etudes short biography and contact information) Histories; Archival Approaches; Historical anglophones”), Nancy-Université) and for papers of 20 minutes duration, lecture Methods; and Local Histories. The dead- ECRITURES, Université Paul Verlaine– recitals of 35 minutes duration and pro- line for submissions is October 1, 2010. Metz are announcing a call for papers posals for panels of three or four papers to Proposals should be submitted electroni- for their international conference on the [email protected] for consideration. cally to Steve Waksman, chair of the pro- theme: “London-New York: Exchanges Submission deadline: December 1, 2010. gram committee: iaspmus2011@gmail. and Cross-Cultural Influences in the Arts For further information please contact com. Individual presenters should submit and Literature”. The aim of this interna- the conference conveners Jill Sullivan: a paper title, 250-word abstract, and tional conference is to study and analyze [email protected] or Sabine Feisst: author information including full name, the cultural links and influences between [email protected] institutional affiliation, email address and London and New York in the arts a one-page c.v. Please send abstract and and literature, a field which seems CFP: The International Alliance for c.v. as separate Word attachments. All to have been overlooked by critics and Women in Music (IAWM) and Northern presenters at the conference are required academics alike. Submitted proposals Arizona University School of Music, in to be current members of IASPM-US. should focus on the intercultural and cooperation with the Flagstaff Symphony For membership and conference informa- interdisciplinary links between the two Orchestra are pleased to announce tion, go to www.iaspm-us.net. metropolises. Deadline for proposals: the IAWM Congress 2011 to be held September 30, 2010.Please send propos- September 15-18 in Flagstaff, AZ. The CFP: Cash Rules Everything Around als (title and 300-word abstract) as well theme of our congress is “In Beauty Me: Music and Money, 2011 EMP Pop as a biographical note of 150 words to We Walk: Changing Women and the Conference at UCLA, will take place on Claudine Armand (Claudine.Armand@ New Musical Landscape.” The four-day February 24 – 27, 2011 in Los Angeles, univ-nancy2.fr), Pierre Degott (degott@ congress will be held on the campus of California. The EMP Pop Conference, univ-metz.fr) and Jean-Philippe Heberlé Northern Arizona University and will launched in 2002, joins academics, crit- ([email protected]). feature established and upcoming women ics, performers, and dedicated fans in composers as well as students, musicolo- a rare common discussion. The confer- CFP: Feminist Theory and Music gists, music theorists and ethnomusicolo- ence is jointly sponsored in 2011 by the Conference (FTM11) ³Looking Backward gists, educators, performers and conduc- Department of Musicology at the UCLA and Forward,² September 22 ­ 25, 2011, tors who will contribute their knowledge Herb Alpert School of Music and by the Arizona State University, School of and expertise in concerts, workshops, Experience Music Project/Science Fiction Music, Tempe, AZ. This historic twen- papers and panel discussions. The title Museum and Hall of Fame. For this year’s tieth anniversary of the Feminist Theory of this conference illuminates the rich Pop Conference, the tenth annual meet- & Music Conference celebrates past and history of the region and is meant to rep- ing and first outside of Seattle, we invite current contributions of women to music resent cultures and histories throughout presentations on a matter Los Angeles and seeks to advance the philosophical, many nations. The story of Navajo cre- knows well: the relationship between theoretical, and practical basis of feminist ation figure Changing Woman contains song and paycheck—or, to invoke the theory in music. The keynote speakers images and metaphors with which many O’Jays hit “For the Love of Money,” bass are Eileen M. Hayes, Juila Koza and women today can identify. The over- line and bottom line. Please send propos- Susan McClary. We welcome proposals arching principle of walking in beauty als of 250 words, with 50 word bio, to of scholarly papers pertaining to feminist is easily experienced in one of the most organizer Eric Weisbard (University of theory and music. We also encourage strikingly spectacular landscapes of the Alabama) at [email protected]. proposals of musical performances and United States, including one of the seven The deadline for proposals is Friday, lecture recitals featuring works by women natural wonders of the world, The Grand October 15, 2010. Panel proposals, speci- composers. The conference will provide a Canyon. Proposers must be members of fying either 90 minutes 120, should forum for this growing body of scholar- continued on page 46

The Bulletin of the Society for American Music • Vol. XXXVI, No. 3 45 conference calendar continued from page 45 electronic mail message: Name, address, Conference: 200 Years of Music In telephone, affiliation, email address for Latin America And The Caribbean The International Alliance for Women further communication, and title of the (1810-2010) will take place in Mexico in Music (IAWM). Papers should be paper or proposal. Send submissions to City at the National Center for the Arts submitted to [email protected] no [email protected], Chair of the on October 27-30, 2010. For complete later than December 9, 2010. For full Review Panel. Complete papers and pro- information about the conference, please information, visit http://www.cal.nau. posals for other presentations must be visit http://www.musicaenlatinoamerica. edu/iawm/. received no later than February 21, 2011. inba.gob.mx. Acknowledgement and notification will CFP: The Chattanooga Symposium be sent via return email (by March 21). Conference: The Department on the History of Music Education of Fine and Performing Arts at Symposium Planning Committee wel- Conference: Classic Broadway and Elizabethtown College will host a comes submissions on topics related in Those Who Built It, an international MacDowell Symposium, December any way to the history of music teach- symposium, will take place October 2-3, 3–5, 2010. For full information contact ing and learning for its conference to 2010, in Boulder, Colorado. Keynote Douglas Bomberger, (717) 361-1212, be held June 2-4, 2011 at the historic addresses by Andrea Most (Making [email protected]. Chattanooga ChooChoo Hotel. The Americans: Jews and the Broadway Musical) Chattanooga Symposium on the History and Rose Subotnik (of Brown University) of Music Education is being organized along with two dozen other papers and sponsored by the History Special and panels about the theatrical work Research Interest Group of MENC: The of American Jews, African Americans, National Association for Music Education and First Generation Immigrants in the and the University of Tennessee at 20th century. Contact American Music Chattanooga. The Symposium Planning Research Center (AMRC), Lisa Bailey, Committee is planning several activi- (303) 735-0237, lisa.bailey@colorado. ties of interest for symposium attend- edu or visit www.music.colorado.edu for ees, including feature speakers, scholarly full schedule and registration informa- papers, panels, concerts and talks on local tion. themes, a riverboat cruise, and tours to local attractions such as historic Lookout Conference: The Do You Bowles? Mountain. Materials must be submitted Conference on the life and works of Paul electronically in any standard style for- Bowles will take place at the University mat. Chicago style is required if you wish of Lisbon Centre for English Studies your paper to be considered for publica- on October 21 – 23, 2010 in Lisbon, tion in the Journal of Historical Research Portugal. Full information can be found in Music Education. Include the fol- at www.doyoubowles.com. lowing information in the body of the

The Bulletin of the Society for American Music The Bulletin is published in the Winter (January), Spring (May), and Summer (September) by the Society for American Music. Copyright 2008 by the Society for American Music, ISSN 0196-7967. Editorial Board Editor...... Kendra Leonard ([email protected]) Reviews Editor...... Patrick Warfield ([email protected]) Design and Layout ...... Allison Gallant ([email protected]) Indexer...... Laura Pruett ([email protected])

Items for submission should be addressed to Kendra Leonard, 5216 Oleander Road, Drexel Hill, PA 19026, or, preferably, submitted as an attachment to e-mail. Photographs or other graphic materials should be accompanied by captions and desired location in the text. Deadlines for submission of materials are 15 December, 15 April, and 15 August.

46 The Bulletin of the Society for American Music • Vol. XXXVI, No. 3 New from OxFORd

John Coltrane and Black America’s This Life of Sounds Quest for Freedom Evenings for New Music in Buffalo RENÉE LEVINE PACKER Spirituality and the Music Edited by LEONARD BROWN “Renée Levine Packer has written a compelling and valuable ac- count of an important moment in the history of modernism in “For me, this book is a chance to read what my esteemed America and the many worlds of the avant-garde. It is an indis- friends and colleagues have to say about this twentieth-cen- pensable document for students of the history of twentieth-cen- tury icon. For everyone, it's an opportunity to learn about tury music.” Coltrane — the man and his music — from some new points —Leon Botstein, President of Bard College, Music Director of view.”—Dr. Lewis Porter, Rutgers University-Newark of the American Symphony Orchestra and the Jerusalem 2010 256 pp. Hardback $99.00 Paperback $27.95 Symphony Orchestra 2010 256 pp. 29 illus. Hardback $35.00 The Hollywood Film Music Reader Edited by MERVYN COOKE South Pacific “Sometimes witty and urbane, sometimes jaded and bitter, Paradise Rewritten and always interesting, the composers represented here offer JIM LOVENSHEIMER a range of insights into Šlm composing as an art and as a “Lucid and enlightening, South Pacic: Paradise Rewritten sets a business. Cooke’s insightful introductions provide the model for studying Broadway’s iconic shows in meaningful launching pad for this fascinating collection.” contexts.”—Carol J. Oja, Harvard University —Kathryn Kalinak, Rhode Island College (Broadway Legacies) 2010 392 pp. 17 Šlm stills Hardback $99.00 Paperback $35.00 2010 288 pp. 30 photographs, 11 music examples Hardback $27.95

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The Bulletin of the Society for American Music • Vol. XXXVI, No. 3 47 T h e B u l l e t i n o f t h e Nonprofit org. S o c i e t y f o r A m e r i c a n M u s i c U.S. Postage PAID Society for American Music Pittsburgh, PA Stephen Foster Memorial Permit No. 5636 University of Pittsburgh 4301 Forbes Ave. Pittsburgh, PA 15260

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awards of the society

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

48 The Bulletin of the Society for American Music • Vol. XXXVI, No. 3