A Lady Gives a Monster Concert

Betsy G. Miller Columbia, South Carolina The Bulletin Every scholar of nineteenth century American music knows of the “monster” concerts of bandmaster Patrick S. Gilmore OF THE S OCIETY FOR A MERICAN M USIC and perhaps also that these concerts may FOUNDED IN HONOR OF O SCAR G. T. SONNECK have been inspired by similar concerts in the United States given by French bandmaster Louis Jullien. What is not often noted is that Vol. XXVI, No. 1 Spring 2000 celebrated violinist Camilla Urso was able to mount a “monster” concert of her own on the Defining Texas Music: West Coast, a feat remarkable for any musician of the time, but most likely a singular Lota May Spell’s Contributions event among the female musicians of her day. Camilla Urso, born in Nantes, France in Kevin E. Mooney historians can play in the construction of 1842, was the first female to enter the Paris The University of Texas at Austin music repertories. Conservatory. A child prodigy, Camilla began Assuming that “Texas music” is a historical touring the United States at the age of ten in Texas historian, educator, and musician, idea, the particulars of which are dependent 1852. Her success in Boston was such that in Lota May Spell (1885-1972) is remembered primarily upon collective opinion, and that 1854 soprano Henriette Sontag chose Urso today, if at all, primarily as the author of Music the history of this idea can be traced in the as a replacement in her concert company for way in which it has been conceived and the celebrated boy violinist Paul Jullien, who presented over time, I will evaluate Spell’s was ill with brain fever.1 After taking a brief efforts to define and promote a distinct Texas break from touring in 1856-1863, Urso music repertory and assess the significance continued to concertize for the rest of her life of her role in the history of Texas music.2 in the U. S., Europe, Australia, and South She was, in her words, “accidentally and Africa. She died in New York in 1902. unintentionally born in Big Spring, Texas, [in French conductor Louis Jullien (1812-1860) 1885]. My mother’s home was in San Antonio. was a musician-showman of enormous I don’t know why she was in Big Spring, proportions. From his thirty-seven names, to passing through, I suppose.”3 She also had his reputation, to his popularity, and most of roots in Mexico. Her father, William Harold all in the size of his concerts, he was a Harrigan, worked alternately for the Union colossus. Born as the son of a bandmaster, Pacific in Denver and a railroad company in he toured America in 1853-54, performing in San Antonio that sent him to Mexico City, New York, Boston, and several other where he became a superintendent for the American cities. Jullien, who received thirty- company. This personal connection with the six Christian names from the thirty-six continued on page 2 continued on page 6 Lota May Spell, ca. 1904. Credit: Lota May Spell Papers, Nettie Lee Benson Latin American Contents Library, The University of Texas at Austin. Articles Defining Texas Music: Lota May Spell’s Contributions ...... 1 in Texas, the first general history of Texas A Lady Gives a Monster Concert ...... 1 1 Reflections on the Fort Worth Conference ...... 9 music. Although Spell worked primarily as And So They Fled: Eighteenth-Century Fugitive Slave Musicians ...... 13 a public school teacher, librarian, and private Departments piano teacher, her 1936 book is still cited as Performances of Note ...... 11 a primary source on music in the state. But Letters from Canada ...... 15 Spell should not be regarded as merely the Letters to the Editor ...... 16 author of an ambitious, seminal, yet outdated News of the Society ...... 18 Bulletin Board ...... 20 book. Her contributions toward the Conferences ...... 21 identification and promotion of a unique Obituaries...... 31 Texas music repertory extend beyond the Index to Volume XXV (1999) ...... 22 pages of Music in Texas. Indeed, her story Reviews of Recorded Material ...... 24 provides a regional perspective on the role Reviews of Books ...... 27 Some Recent Articles and Reviews ...... 29 of Music Clubs, and the Texas Music Teachers The Bulletin of the Society for American Music Association. Besides her work with these The Bulletin is published in the Spring, Summer, and Fall by the Society for American Music. © groups, which in one instance included Copyright 2000 by the Sonneck Society, ISSN 0196-7967. formal recommendations to the State Board Editorial Board of Education regarding the choice of songs Editor ...... Larry Worster ([email protected]) considered appropriate to be taught in the Book Review Editor ...... Petra Meyer-Frazier ([email protected]) public schools, Spell also lectured extensively Record Review Editor ...... Orly Leah Krasner ([email protected]) on the history of the state’s music. Her Bibliographer ...... Joice Waterhouse Gibson ([email protected]) illustrated presentations included slides of Indexer ...... Amy C. Beal ([email protected]) musical examples from both the state’s past Copy Editor ...... Joice Waterhouse Gibson ([email protected]) as well as its present. Her practice of Articles for submission, accompanied by a 100-word biographical statement, should be addressed promoting the songs of her contemporaries to Larry Worster, SAM Bulletin, 255 S. 40th St., Boulder, CO 80303; [email protected]. All materials resulted in several letters of solicitation from should be submitted in double-spaced printed copy, on a three-and-one-half inch disk, or as an Texan composers who sought Spell’s attachment to e-mail. Microsoft Word 6.0 and Wordperfect 5.1 are the recommended file formats. endorsement. For example, on 7 November Photographs, musical examples, or other graphical materials should be accompanied by captions 1935 Ethel R. Wartham of Corsicana, Texas, and desired location in the text. Deadlines for submission of materials are 15 January, 15 May, and writes: 15 September. In general, the Bulletin follows the styles given in The Chicago Manual of Style, 14th I hope you can see your way clear to mention ed. (Chicago: University of Chicago Press, 1993). [my song “Texas, Land O’Dreams”] in your Inquiries concerning book reviews should be sent to Petra Meyer-Frazier, 2414 Steele St., Denver, talk. . . . [I] have never tried to have it CO 80210; [email protected]. Inquiries concerning reviews of recorded material should be sent published. But someone should be interested to Orly Leah Krasner, 30-29 49th St., Apt. 2S, Long Island City, NY 11103; [email protected]. in publishing Texas songs. They are in such demand at present. If there ever was an “Spell” continued from page 1 Thomas as director, the Cincinnati College of opportune moment for a Texas song to go region undoubtedly fueled her interest in and Music opened its doors in 1878, [and] it is of over, it is now.7 research of Latin-American culture, resulting particular interest to Texans that its director in numerous writings on the subject.4 from 1903 was Franz van der Stücken [sic ], a The “opportune moment” for Wartham, of Lota May began her music education in native of Fredricksburg, Texas.”5 course, was the Texas Centennial era.8 San Antonio, studying piano and composition Assumptions of exceptionalism or Attempts to construct and promote a with August Schemmel, who in 1898 became distinctiveness, whether regional or national, distinct regional music and identity acquire director of music at the Virginia Institute, a automatically suggest an “other.” Just as a timely relevance beyond the everyday girl’s boarding school in Bristol. Continuing American composers of the 1920s and 30s during state (and national) centennial her studies with Schemmel in Virginia for struggled to find their own voice in the celebrations. The intense media coverage three more years, in 1901, at only 16 years of shadow of the Western European musical and associated with the Texas Centennial age, Spell went abroad, where she attended cultural traditions, some composers and heightened an interest in things Texan and, the Grand Ducal Conservatory in Karlsruhe, intellectuals of the Southwest, such as Spell, for some, inspired a strong sense of patriotism Germany, and she performed as a pianist in championed the region’s distinctiveness in and Texan identity. With this patriotism came both Europe and Mexico between 1905 and relation to New England and the northern a need to identify elements that made the 1910. Atlantic states. For example, in her essay state unique. She returned to Texas in 1910 in order to “Music in the Southwest: The Spanish By 1936 Spell had intensified her ongoing continue her education at the University of Contribution,” Spell makes the following enterprise to collect music associated with Texas where she met and married Jefferson declaration and plea: the state. But patriotism was not her only Rae Spell, who was to become professor of All culture did not come westward; most of motivation. Silver, Burdett & Company, a romance languages at the University. She the best of sixteenth-century Europe came into publishing house in Boston specializing in received her Master of Arts degree in 1919, the Southwest through Mexico City. No longer music education and instruction books, and in 1923, Spell became the second woman must the people of the Spanish border permit contacted Spell in the Spring of 1935 to receive a Ph.D. from the University of themselves to be looked upon as the hungry requesting a list of Texas music that would Texas. recipients of crumbs of musical culture of New illustrate the different historical periods of Although not immediately apparent by England; instead they must make it known Texas as well as be representative of the their titles, Spell’s thesis, A History of Musical that the Southwest is rich in its heritage from various ethnic groups of the state. Their Education in America, and dissertation, those early settlers of the region, the intention was to issue a Texas Centennial Musical Education in North America during Spaniards.6 supplement to the The Music Hour, a general the Sixteenth and Seventeenth Centuries, music textbook suitable for grades six and include regionalist tendencies that she would The gravity of Spell’s southwestern seven, or the first and second years of junior develop in future writings. For example, regionalism was centered in Texas. This is high school.9 despite the national focus of her master’s not only evident in her writings, as I will In April 1935 Spell wrote to several Texas thesis, Spell highlights proudly the show, but also in her activities associated with composers, publishers, music teachers, and contributions of Texans to the history of such music clubs and professional college presidents, as well as the Library of America’s music. In her chapter on music organizations as the Wednesday Morning Congress, with a request for “music schools, Spell writes that “with Theodore Music Club of Austin, the Texas Federation representative of the various groups that have

2 The Bulletin for the Society for American Music • Vol. XXVI, No. 1 contributed to musical life in Texas.”10 “It is not high-brow music I am interested in,” The Society for American Music writes Spell, “it is the songs the people sing The Society for American Music promotes research, educational projects, and the dissemination of information concerning all subjects and periods embraced by the field of music in American life. in every-day life. Cradle songs, songs taught Individual and institutional members receive the quarterly journal American Music, the Bulletin, and the children in the schools, what the people the annotated Membership Directory. Direct all inquires to The Society for American Music, PO Box sing at their work, etc. is the type I want.”11 476. Canton, MA 02021; (617) 828-8450; [email protected]. Spell had no financial interest in the project. Officers of the Society, 2000-2001 In a later letter she writes: President ...... Rae Linda Brown President-elect ...... Paul F. Wells I was merely asked to select what I considered Vice President ...... Mark Tucker worthy material for inclusion in a Texas song Secretary ...... Katherine Preston collection, and I have tried honestly to do that. Treasurer ...... William Everett Beyond being paid a nominal sum for this Members-at-large ...... Judy Tsou, Michael Broyles, Linda Pohly, work, I have no part in the publication or its Nym Cooke, Marva G. Carter, Emily Good possible financial gains or losses.12 Editor, American Music ...... Robert Walser Editor, Bulletin ...... Larry Worster Editor, Directory ...... Kate and Robert M. Keller Her intentions were sincere: “to leave a Executive Director ...... Kate Van Winkle Keller; as of 1 July: Mariana Whitmer very clear picture of what life was in Texas Conference Manager ...... James Hines and what each has contributed in bringing it Standing Committee Chairs: into the realm of world music.”13 American Music Network: Cheryl Taranto; Education: Deane L. Root; Finance: N. Lee Orr; Long- By the summer of 1935 Spell sent to her Range Planning: Rae Linda Brown; Development: James P. Cassaro; Dissertation Award: Ralph Locke; publisher an extensive list of songs sung in Honors and Awards: George Keck; Lowens Award: 1999: N. Lee Orr, book; Kim Kowalke, article; Texas from which the editor-in-chief at Silver, Dissertation: 1998 completion: Ralph Locke; 1999 completion: Catherine P. Smith; Membership: Marilynn Smiley; Conference Site Selection: Kay Norton; Nominating: Ann Sears; Public Relations: Burdett, & Company could select the pieces Homer Rudolf; Book Publications: Lenore Coral; Non-print publications: Mary Jane Corry; Silent to be included in the supplement.14 The Auction: Dianna Eiland; Publications: Anne Dhu McLucas; On-line Resources: Robert M. Keller; anthology reached the schools in November Cultural Diversity: Tammy L. Kernodle 1935. A list of the songs in this collection, Appointments and Ad Hoc Committees: according to Spell’s categories, can be seen ACLS Delegate: Anne Dhu McLucas; Archivist: Susan Koutsky; Committee on Publication of in Table 1. Of several anthologies of Texas American Music: Judith McCulloh; US-RILM Representative: Denise Von Glahn; Registered Agent for music ultimately issued in celebration of the the District of Columbia, Cyrilla Barr; Interest Group Coordinator: Judy Tsou; Representatives to Toronto-2000: Katherine K. Preston, Kate Van Winkle Keller Texas Centennial, The Music Hour was the most balanced collection. In addition to songs Interest Groups: American Band History Research: Phyllis Danner; American Music in American Schools and of ethnic groups such as the “Indian,” Colleges: James V. Worman; Folk and Traditional Music: Ron Pen; Gospel and Church Music: Esther Spanish, Mexican, French, German, Czech, Rothenbusch and Roxanne Reed; Music of Latin America and the Caribbean: John Koegel; Musical and the “Negro,” regional distinctions are Biography: Adrienne Fried Block; Musical Theatre: Paul R. Laird; Popular Music: Kristen K. Stauffer, recognized in songs from East Texas and Philip Todd; Research on Gender and American Music: Petra Meyer-Frazier and Liane Curtis; Research “Along the Border.” Resources: George Boziwick; 20th-Century Music: David Patterson; Historiography: Paul Charosh; Student: Renee Camus, Rebecca A. Bryant; 18th-Century Music: David Hildebrand While it is difficult to determine the extent to which teachers actually used this Listserv: [email protected] supplement, the Texas Department of Homepage: http://www.american-music.org Education suggested its use along with Songs Annual Conferences Texas Sings, another collection published for Mega Conference: 1-5 November 2000; Toronto; Katherine Preston, Program Committee Chair; the Texas Centennial, for the specific study Mark Tucker, Concert Committee Liaison; Kate Keller, Local Arrangements Chair of Texas music. In Department Bulletin No. 27th Annual Conference: 23-26 May 2001; Trinidad, Port of Spain, in conjunction with the Center for Black Music Research; Johann Buis, Program Chair; Kate Keller and Jim Hines, Local 359 issued in May 1936, two sections treat Arrangements Chairs Texas music specifically: one entitled 28th Annual Conference: 6-10 March 2002; Lexington, KY; Susan Cook, Program Committee “Studying the Rhythm of the Music Brought Chair; Ron Pen, Local Arrangements Chair to Texas by People of Other Countries” and the other “Singing Our Texas Songs in the American Music Month American Music Month is the month of November. School Choir.”15 The Texas Centennial supplement to The Music Hour and one song in particular, “Will You Come to the Bower?,” account of “Will You Come to the Bower?” to Texas Centennial Exposition in Dallas, the are listed specifically for both sections. accompany the score of an arrangement by Federation was to “act as a clearing house for Spell, both independently and in Texas composer Oscar J. Fox, published by such music as may be submitted for association with the Texas Federation of C. C. Birchard & Company in 1936 as a Centennial purposes and give official Music Clubs, was influential in the recognition special Centennial edition.16 Indeed, it was approval to such numbers as are appropriate of “Will You Come to the Bower?” as an also largely due to Spell’s influence that the for Centennial use.”17 The intention was to historic Texas song supposedly sung by song was to be included in a Centennial compile a collection of songs that could be Texans during the battle at San Jacinto in songbook compiled by the Texas Federation used on various Centennial programs 1836. Besides her chronicle of the song in of Music Clubs, but never published. At the throughout the state. In a letter to Fox Music in Texas, Spell wrote a brief historical request of the Director of Promotion of the continued on page 4

The Bulletin for the Society for American Music • Vol. XXVI, No. 1 3 “Spell” continued from page 3 throughout the state.21 As can be seen in the Spell’s history is announced within her brief regarding his arrangement of “Will You Come Appendices, eight of the twenty-one songs prefatory statement: to the Bower?,” Spell writes that the song was are cowboy songs. The purpose of this work is to make available selected for the book, but “I don’t believe it Texas Federation of Music Clubs to teachers, club workers, and others would have had a shot if I hadn’t been there members among others did not favor such interested in the cultural development of the to bring out its historical connection.”18 an emphasis on cowboy songs. While they State of Texas some facts by which the The Centennial Supplement of The Music endorsed the state’s music program outlined progress of music may be traced, and also Hour propagates Spell’s and her publisher’s by Woods, Spell and other members of the some songs actually sung through the years, understanding of what constituted Texas music clubs criticized the list of Texas music as illustrative material. Many of these, here music. To them, the particular combination to be “neither representative, complete, nor reproduced from early editions in the of diverse ethnic and regional groups, fair either to other composers of meritorious possession of the writer, while in no sense together with their musical contributions, works or to the school officials as the list masterpieces of musical art, are engendered a unique musical culture, and contains names of works neither worthy nor representative of the taste of the people at the inclusion of “Will You Come to the suited to school use.”22 More specific different eras.24 Bower?” further substantiates this particular criticism as well as suggestions for revision song’s importance to Texas history. were reported at the Fall Board Meeting of Spell included a total of twenty-nine It must be noted, however, that the the State Federation of Music Clubs (1 and musical examples in her text. Some pieces diversity of songs included in The Music 2 November 1935). Mrs. R. E. Wendland of were obviously selected for their association Hour stands in contrast to the music the Federation’s Educational Department with Texas history, such as “Will You Come included in other anthologies published for “recommended particular study of Texas to the Bower?” Her emphasis on “firsts” in the Texas Centennial such as Songs Texas music and musicians during the year of her history—the first hymns sung in Texas, Sings. This distinction underscores a lack of 1936, [and] urged that a broader the first schools in Texas, the first composer consensus as to what constituted Texas understanding of Texas music than some of born within the confines of the state to music according to the compilers. See its cowboy ballads be reached through more achieve international fame, etc., precludes Appendices. serious study of our accomplishments and her inclusion of such songs as the 1858 Briefly, Songs Texas Sings was a booklet possibilities.”23 publication of “The Yellow Rose of published in 1936 by the Texas Centennial Thus, Spell and other members of the Texas,”—considered by Spell to be “the first Publicity Committee to be distributed to the Texas Federation of Music Clubs understood song to achieve lasting popularity in which schools throughout the state. John Lomax, the state’s music to be more than cowboy the word ‘Texas’ appeared in the title.”25 at the time recognized as an authority on ballads, and, as outlined above, advocated Because some pieces receive little cowboy songs, was commissioned by the the teaching of a variety of Texas songs that commentary, her criteria for other selections Centennial Committee to compile songs included music from diverse Texan cultures. is not always as obvious. For example, the representative of Texas. Not surprisingly, It is impossible to consider the only reference Spell makes to “Come, O considering Lomax’s personal interest in the historiography of Texas music without Come With Me” is that it is an early example topic, twelve of the twenty-eight selections taking into account the presuppositions of a song sung by the Italian settlers. are cowboy songs, which is the group, upon which such history rests. Spell’s In several cases, Spell’s examples illustrate according to Lomax, “best representing writings on the state’s music, the ideological her discussion of a particular song’s Texas and the Southwest.”19 A complete list underpinnings of which culminate in her transformation. For instance, in her chapter of songs included in Songs Texas Sings can history Music in Texas, are based on three entitled “Echoes from the Old South,” Spell be seen in the Appendices. assumptions: 1) that the combination of discusses what she calls the “evolution” of Spell and some members of the Texas national and ethnic groups that came a song in Texas. According to Spell, “Take Federation of Music Clubs were critical of together in the state is unique in relation to Me Home to the Place Where I First Saw the Songs Texas Sings. In a letter to Mary Daggett the rest of the Southwest, the nation, and Light,” a song whose history began outside Lake about her song “Have You Ever Been the world; 2) that the folk musics of these of Texas (where, she does not inform us), to Texas in the Spring?,” Spell writes: “I was groups are the elements that characterize was sung at camp meetings and later a bit sorry to see your song in [Songs Texas the distinctiveness of the state’s music; and became widely known as the gospel hymn Sings]. While it no doubt serves a certain 3) that the continued development of Texas “At the Cross.” Spell includes a piano/vocal purpose, the book as a whole is not on as music is, at least in part, dependant upon score of “Take Me Home” as well as the text high a plane as I had hoped.”20 There is the adaptation and utilization of this regional to a cowboy paraphrase of “At the Cross” evidence to suggest that at least one of material, particularly by composers of the which reads: Spell’s objections to the anthology might cultivated tradition. At the bar, At the bar have been due to the predominance of Spell’s Music in Texas is an expanded Where I smoked my first cigar, cowboy songs in the collection. On 4 version of a series of essays first issued in And my nickels and my dimes rolled away; September 1935 State Superintendent of The Musicale, the journal of the Texas Music It was there by chance That I tore my Sunday pants, Education L. A. Woods, who, according to Teachers Association (beginning in May And now I can wear them every day.26 Spell, “although not himself a musician, has 1929 and continuing to December 1931). shown a keen realization of the value of Music in Texas is a diachronic history of the Spell championed the state’s vernacular music in education,” distributed a circular state’s music beginning in the sixteenth music in all its ethnic and cultural diversity. that included a list of Texas music that could century, with music among the “Indians,” Yet, at the same time, she did not harbor be used on Centennial programs in schools and continuing to about 1936. The intent of very high opinions of this music, which was,

4 The Bulletin for the Society for American Music • Vol. XXVI, No. 1 “America” (w. Samuel Francis Smith; m. Henry she considered, once performed by the Carey) “musically uncultured.”27 Recall that in her Kevin E. Mooney is Lecturer of Musicology “Cielito Lindo” (w. arranged, second stanza by J. R. preface to Music in Texas, she considered at The University of Texas at Austin. Also a Baxter, Jr.; m. C. Fernandez, arranged) the songs around which her history is classical and jazz guitarist, he has performed “Dixie” (w. Dan D. Emmett; m. Emmett) “Ev’rybody Talkin’ ‘Bout Heab’n Ain’t Goin’ There” organized as being “in no sense in concert with Dizzy Gillespie and David (w. arranged; m. Spiritual) masterpieces of musical art.” Indeed, in her Amram. He is currently working on several “Good-bye, Old Paint” (w. arranged; m. traditional) concluding paragraphs of this monograph, articles for the Handbook of Texas Music “Have You Ever Been to Texas in the Spring?” (w. she qualifies the music of her study as (edited by Casey Monahan. Austin, Texas: Mary Daggett Lake; m. Lake) “insignificant items of past life in Texas.” As Texas State Historical Association, work in “Home On the Range” (w. arranged; m. traditional) “I Couldn’t Hear Nobody Pray” (m. Spiritual) her final paragraphs make clear, her ultimate progress). “La Cucaracha” (w. lyric for school use by Virgil O. intention was not to praise, but rather to Appendices Stamps; m. Spanish Melody) “Little Joe, the Wrangler” (w. arranged; m. present a repertory of music representative Texas Centennial Supplement to The of the state in order to inspire trained traditional) Music Hour, compiled by a Board of “Long, Long Ago” (w. Thomas H. Bayly; m. Bayly) Consultants in Texas and the editors of composers to incorporate the spirit of the “Make Me a Cowboy Again for a Day” (w. arranged; state’s music into art music genres: The Music Hour, Osbourne McConathy, et m. traditional) al. (New York: Silver, Burdett and The bits of history recalled by these pages “O Bury Me Not on the Lone Prairie” (w. arranged; Company, 1935). m. traditional) can only be fairly interpreted when fitted into “A Spanish Christmas Carol” (w. traditional; m. “Oh, Susanna!” (w. Stephen C. Foster; m. Foster) the larger picture of American and world Mexican Folk Tune) “Steal Away” (w. arranged; m. arranged by V. O. culture. . . . While distinct types of folk music “Are You Sleeping?” (m. Old French Round) Stamps) were evolving in Texas, Russian and Spanish “At the Window” (w. Maurice Thompson; m. Frank “Swing Low, Sweet Chariot” (m. Spiritual) composers were beginning to turn their van der Stucken) “Texas Rangers” (w. arranged; m. traditional) attention to native themes; Liszt and Brahms “Ballet of De Boll Weevil” (w. traditional; m. “Texas, Our Texas” (w. Gladys Yoakum Wright and American Folk Tune) William J. Marsh; m. Marsh) made known to the world the variety and “Canción de Cuna” (Nos. 1 & 2) (no attribution) “The Cowboy’s Dream” (w. arranged; m. Old richness of Hungarian music; and Dvorak “Clang! Clang! Clang!” (w. Abbie Farwell Brown; m. Melody) awoke the pride and enthusiasm of the Allyre Bureau) “The Cowboy’s Lament” (w. arranged; m. Czechs for their own folk music. . . . What “Come All Ye Texas Cowboys” (w. Cowboy Song; traditional) each of these countries has since contributed m. Traditional, as sung by Clyde Wilkinson of “The Cowboy’s Meditation” (w. arranged; m. Coleman, Texas) traditional) in the form of modern music is the adaptation “El Sombrero Ancho” (The Broad-Brimmed Hat) (w. “The Eyes of Texas” (no citation) and utilization of existent material. Texas and traditional; m. Mexican Folk Tune) “The Old Chisholm Trail” (w. arranged; m. her various folk themes still await the “Gaily the Troubadour” (m. Early American traditional) composer who is to give them adequate Folksong, version from Amateur’s Songbook, “The Star-Spangled Banner” (w. Francis Scott Key; published in Boston, 1843) expression in the form of a great suite, choral m. John Stafford Smith) “Hog Drovers’ Song” (w. traditional; m. Folk Tune “We Love Texas” (w. Virgil O. Stamps; m. Stamps) work, symphony or opera. Perhaps this from East Texas, aranged by Henry E. Meyer) “When Work’s All Done This Fall” (w. arranged; m. sketch, pieced together from the insignificant “My Moonbeam” (m. Early Indian Tune, as sung by traditional) Kate Taylor Parmley) items of past life in Texas, may serve to “Whoopee Ti Yi Yo, git Along Little Dogies” (w. “Oh, Bury Me Not, or The Dying Cowboy” (w. arranged; m. traditional) suggest that goal, or inspire the effort which Cowboy Song; m. As sung by Kate Taylor will create in this state, from themes typically Parmley) “Will You Come to the Bower?” (w. Thomas Moore; m. Irish Folk Tune) Texan, a musical masterpiece of the first “Padre Nuestro” (w. The Bible; m. Gregorian Chant) rank.28 “Palomita” (w. traditional; m. Mexican Folk Tune, “Texas Song Material” included arranged by Manuel M. Ponce) in the State Department of Education Thus, despite her proclivities toward “Seek and Ye Shall Find” (w. traditional; m. Negro Circular by L. A. Woods, Tune, collected by Frances Wright Hausenfluch) State Superintendent of Education, inclusiveness, Spell had cosmopolitan “Steal Away” (m. traditional Negro Spiritual) 4 September 1935. tendencies, an empathy for the genteel. “Texas, Our Texas” (words (w) by Gladys Yoakum Indeed, her history blends contradictory Wright and William J. Marsh; music (m) by Marsh) “All Day on the Prairie” (David Guion) “Beautiful Texas” (Lee O. Daniels) elements: a tolerant broadmindedness with “The German Backwoodsman” (w. August Heinrich Hoffmann von Fallersleben; m. German folk “Blue-Bonnet Time” (Ruth K. Clarkson) a hierarchical view of what she considered Tune, translated and adapted by Adolph Fuchs) “Blue-Bonnet Time” (William J. Marsh) “good” music. While she advocated “The Maid of Monterey” (w. and m. John H. Hewitt) “Have You Ever Been to Texas in the Spring? (Mary recognition of the state’s musical diversity, “The Old Chisholm Trail” (m. Cowboy Song) Daggett Lake) at the same time, she understood this music “Three Blind Mice” (Round) (no attribution) “I’m Coming Back to You My Texas” (William Cunningham) to be subservient to more artistic, learned, “V dobrém jsme se sesli” (Flowers Bright I Bring Thee) (m. Czech Folk Song) “My Texas Blue-Bonnet” (Nix and Josie) or cultivated genres. “Whoopee Ti Yi Yo Git Along Little Dogies!” (w. “My Texas” (Patti M. Anderson) For her contemporaries, Spell’s history of Cowboy Song; m. As sung by Kate Taylor “Old Chisholm Trail” (Birchard) music in Texas, manifest in her lectures as Parmley) “Old Faithful” (arrangement not listed) “Will You Come to the Bower?” (w. Thomas Moore, “Old Paint” (arrangement not listed) well as in her writings, both legitimized and adapted by H. F. Estill; m. Irish Folk Tune, version substantiated the idea of a unique Texas from Amateur’s Songbook, published in Boston, “Rounded Up in Glory” (arrangement not listed) music. Today, her work stands as a 1843) Songs of the Open Range (collection, Birchard) “Texas Our Texas” (W. J. Marsh) Songs Texas Sings, compiled significant example of the role historians “Texas Pride of the South” (Ella Hudson Day) play in the definition and construction of by the Public School Division of the Texas Department of Publicity “Texas Shine on Forever” (Rudolph Kleberg) musical repertories. for Centennial Celebrations (Dallas, “Texas” (Julia D. Hart) Texas: Turner Company, 1936). “The Eyes of Texas” (arrangement not listed) “The Last Round-up” (arrangement not listed) continued on page 6

The Bulletin for the Society for American Music • Vol. XXVI, No. 1 5 “Spell” continued from page 5 13. Spell to Oscar J. Fox, 8 December 1937, “Lady” continued from page 1 Spell Collection, Box 142, folder 7, BLAC. “When the Bloom is on the Sage” (Howard and Vincent) Nationally recognized for his arrnagements of old members of the Philharmonic Society who cowboy ballads, Oscar J. Fox (1879-1961) has 2 “Whoopee Ti Yi Yo” (Birchard) were his godfathers, developed the been described as “one of the few Texas promenade concert in England into a highly composers genuinely entitled to the designation Notes popular form of entertainment. These 1. Lota May Spell, Music in Texas: A Survey of of ‘Texan’ with all that the term connotes in One Aspect of Cultural Progress (Austin, Texas: W. sensitivity and ability to catch the real spirit of this concerts generally had an orchestra, multiple A. Whatley Printing Company, 1936). Reprint: section of the country” (Undated clipping, Texas bands, choirs, and soloists. They also had New York: AMS Press, 1973. Federation of Music Clubs Papers, Box 3J467, CAH). More specific information on his novel effects designed to amuse and intrigue 2. For a specific discussion on national music as association with Spell will be mentioned below. those attending such as cannon fire and a historical idea shaped by collective opinion, see Carl Dahlhaus, “Nationalism and Music” in 14. “Tentative List,” Spell Collection, Box 141, performance on enormous, one-of-a-kind Between Romanticism and Modernism: Four folder 4 BLAC. instruments.3 This type of concert, including Studies in the Music of the Later Nineteenth 15. Matthews, J. C., “Tentative Course of Study large numbers of instrumentalists and for Years One Through Six,” Bulletin No. 359, Century, trans. Mary Whittall (Berkeley: University vocalists, eventually became known as a of California Press, 1989), 79-101. State Department of Education, 12/7 (May, 1936), 3. Austin-American Statesman, 14 November 351-356. “monster” concert. When Jullien toured 1971; see also Vertical File: Spell, Lota May, Center 16. Fox’s arrangement of “Will You Come to the America, he brought with him a cadre of fine for American History, The Univeristy of Texas at Bower?” can be found in the stacks at CAH and musicians. His appearance in Boston Austin, (CAH). the Lota M. Spell Collection, Box 150, folder 10, BLAC. For more information on Spell’s account of coincided with Gilmore’s tenure as the 4. The bibliography following Delmer Rogers’ conductor of the Boston Brass Band,4 and essay “A Memorial Tribute to Lota May Spell the use of this song in the battle at San Jacinto as 5 (1885-1972)” includes Spell’s non-musical writings well as questions regarding its historical Urso’s own concerts. This was not the only (Anuario Yearbook Anuário 10 (1974): 197-198). authenticity, see my dissertation, 56-59. occasion that Urso would have to observe A chronological listing of Spell’s writings on music 17. Letter reprinted in Southwestern Musician 2/5 (Jan., 1936): 3. Jullien’s spectacular productions. is listed in the Appendix following this essay. Urso’s connections with Gilmore run even 5. Spell, A History of Musical Education in the 18. Spell to Fox, 15 February 1936, Spell United States (Masters Thesis, The University of Collection, Box 142, folder 7, BLAC. closer than with Jullien. Gilmore began his Texas, 1919), 94. 19. John A. Lomax, Cowboy Songs and Other career as a bandleader of several Boston 6. Spell, “Music in the Southwest: The Spanish Frontier Ballads (New York: Sturgis & Walton Co., bands. In 1859 he formed his own band, Contribution,” The Musicale 15/2 (May, 1929): 3. 1910). “Make Me a Cowboy Again for a Day” is not included in Lomax’s anthology. Those songs which, like many others, served as a 7. Ethel R. Wartham to Spell, 7 Novemeber regimental band in the early years of the Civil [1935], Spell Collection, Box 141, folder 5, Nettie of Songs Texas Sings likely drawn from Cowboy Lee Benson Latin American Collection, The Songs include: “Home on the Range,” “The War until an Act of Congress declared all University of Texas at Austin (BLAC). On 8 Cowboy’s Meditation,” “Whoopee Ti Yi Yo, Git regimental bands were to be discharged in Along Little Dogies,” “Little Joe, the Wrangler,” February 1936 Spell and six other judges 1862. When Gilmore returned to Boston, he appointed by the Texas Federation of Music “Good-by, Old Paint” (published as “Old Paint” in Clubs’ District Presidents and given the Lomax), “O Bury Me Not on the Lone Prairie” re-organized his band and gave many responsibility of selecting music deemed to be (published as “The Dying Cowboy” in Lomax), popular concerts.6 In the fall of 1863, Gilmore “appropriate for Centennial use” included “Texas, “The Old Chisholm Trail,” “When Work’s All Done hired Urso to play at his concerts in Boston Land O’ Dreams” among the twelve songs initially this Fall,” “The Cowboy’s Lament,” “Texas Rangers,” and “The Cowboy’s Dream. and later to tour in New England. She also chosen to be included in a Texas Centennial 7 Songbook, a compilation that ultimately remained 20. Spell to Lake, 6 March 1936, Spell toured for him in 1867. While details of these unpublished. For more on this proposed Texas Collection, Box 151, folder 10, BLAC. tours are not known, Gilmore was among the music compilation, see my dissertation, Texas 21. Spell, Music in Texas, 118n. L. A. Woods, numerous Boston musicians signing a Centennial 1936: Music and Identity (The Texas State Department of Education, circular, 4 8 University of Texas at Austin, 1998), 155-158. September 1935, Spell Collection, Box 141, folder testimonial to Urso on 7 March 1867. He was 8. The Texas Centennial publicity campaign 1, BLAC. one of four conductors for a testimonial originated in Wartham’s backyard (Corsicana). For 22. Resolutions adopted by the Texas concert given for Urso in Boston in January more information on this topic, see Kenneth Federation of Music Clubs (TFMC) November 1869, an event so popular that it demanded Ragsdale, Texas Centennial ‘36: The Year America 1935. TFMC Papers, Box 3J476, CAH. extra trains be added to accommodate the Discovered Texas (College Station: Texas A & M 23. Minutes: Fall Board Meeting of TFMC, 1 and 9 Press, 1987), 38. 2 November 1935, TFMC Papers, Box 3J468, attendees. (See Figure 2.) 9. The use of The Music Hour-One Book Course folder: Minutes 1931-1936, CAH. Possibly with some idea of the success of is outlined in The Teaching of Music in Texas 24. Music in Texas, preface. Jullien’s large concerts, Gilmore first Public Schools, Texas State Department of 25. Music in Texas, 130. conceived of a National Peace Jubilee in June Education, Bulletin No. 352 11/12 (December 26. Music in Texas, 66-68. 1935). 1867 to commemorate the restoration of 27. The Music Hour, xiii. 10. Spell to Library of Congress, 16 April 1935, peace in the United States. Because of the 28. Music in Texas, 142-143. As I point out in Spell Collection, Box 151, folder 10, BLAC. Chapter 1 of my dissertation, that “effort” was length of time that it took to find supporters, 11. Spell to Lozano Publishing Company, 22 going on in the 1930s and indeed was manifest in the Jubilee did not take place until 15 June April 1935, ibid. such Texas Centennial operas as Samuel E. 1869, after six months of preparations.10 One 12. Spell to Mary Daggett Lake, 6 July 1935, ibid. Asbury’s San Jacinto Cycle (unfinished), of the most striking effects in Gilmore’s Jubilee Topics of correspondence between Fort Worth, Theopholus Fitz’s Tejas (1932-33), Carl Venth’s La Texas, botanist, author, and composer Mary Vida de la Misión (1935), and Otto Wick’s The was in Verdi’s “Anvil Chorus.” One hundred Daggett Lake (1880-1955) and Spell include Lone Star (1935). firemen hammered anvils while two batteries inquiry about the historical background and of guns were used in sequence to blast the significance of the 1858 edition of “The Yellow Rose of Texas” published by Firth Pond & Co. of first beat of every measure. The orchestra was New York which Lake and William J. Marsh enormous with two hundred violins and a reissued in 1936 as a special Texas Centennial chorus of ten thousand. The Jubilee lasted edition. This edition is part of the Texas Music 11 Collection, Dallas Public Library, Dallas, Texas. five days and was a complete success. Did Camilla Urso view the Jubilee? Barnard’s

6 The Bulletin for the Society for American Music • Vol. XXVI, No. 1 biography says only that Urso spent that her upon Sontag’s return, but Sontag died of filling the California Theatre “to its utmost summer in Bologne and Paris. cholera in Mexico. Two years later, Urso, who capacity with as brilliant an audience as ever If Urso did not attend any of Louis Jullien’s again was in New York, was asked to join a greeted an artist, . . . Mlle. Camilla Urso fairly concerts in Boston, there is no question that lady reader, Mrs. Macready, on tour. In 1856, enraptured them with her brilliant execution she was fully aware of him when she toured Mrs. Macready left Urso stranded without of master pieces on the violin, and was as a performer with Sontag. Jullien and Sontag funds in Nashville, Tennessee.15 Here, Camilla encored after each.”19 were scheduled to appear in New Orleans, met and married her first husband, George Because of the success of her concerts, Louisiana, within days of each other in M. Taylor,16 and gave birth to a daughter and Urso decided to contribute to a charitable February 1854, and they were to be followed son.17 It is possible that the Civil War drove cause for the people of San Francisco. Urso by the popular violinist Ole Bull who was in her out of Nashville when that city was wrote a letter to the President and Board of concert with the rising operatic star, the young evacuated in 1862. By 1863, Urso was back Directors of the Mercantile Library Association Adelina Patti. The Daily Picayune of New of San Francisco: Orleans was full of articles and Gentlemen: The present advertisements for these coming embarrassment of your Society events. As the time grew closer to having come to my knowledge, the scheduled events, the dates and wishing in some suitable kept being juggled. Both Jullien manner to show my gratitude and Sontag were supposed to to the people of this city for the appear in Odd Fellows Hall. kindness and appreciation I The competition between have met with during my visit, touring companies was at times I have thought of no better expressed quite openly. Sontag method to do so than in appeared first. Ole Bull and Patti offering you the benefit of a left after one successful concert grand musical entertainment and one that failed to draw an such as I originally intended audience.12 Jullien entered as giving here, with the sincere Sontag departed. When a letter in hope than it may prove a help the Daily Picayune mentioned towards relieving the Mercantile that prior to her arrival in the city Library of its present difficulties. Sontag had held a concert on Should my offer be accepted, I board ship to benefit the New will, gentlemen, consecrate all Orleans Orphan Asylum, Jullien my time during the two months announced that he, too, had necessary for its preparation, to given a concert to benefit the make it a grand success.20 Orphan Asylum while on board the Eclipse. Sontag donated The idea of a grand festival in $100.00; Jullien’s donation was San Francisco caught hold. It was for $200.00.13 After performances scheduled to coincide with the in Mobile, Sontag and her troupe celebration of George returned to New Orleans about Washington’s birthday on 22 two weeks later with the addition February. of Luigi Arditi and his Italian Advertisements in the San Opera Company to direct them Fig. 1: Camilla Urso. Collection of the author. Francisco Examiner described a in a series of operas. Jullien was Grand Orchestra of 150 members still firmly ensconced in the city. with an oratorio chorus of 1200 The two battled nightly for audiences. He in Boston performing and being hailed as a voices plus a military band. The festival was advertised a bal masque. Sontag offered a mature violinist, no longer the child prodigy. to last three days, and the third day was to Grand Combination Concert for the same Although Urso toured under Gilmore’s feature a children’s concert with 2000 children night, although she did bow to the direction in 1863 and 1867, she left Boston in from the public schools. The California Pacific competition and postpone this particular the summer of his National Peace Jubilee for Railroad offered special excursion rates from concert until after Jullien left the city.14 The her customary travel abroad. When she came all points to San Francisco for the festival, and real winner in this competition was the city back from Europe, rather than making her public schools were closed for the week.21 of New Orleans. The Daily Picayune usual return to the East Coast, she pushed A Mr. R. Herold was General Conductor, continued to be ecstatic in its praise of both across the United States to San Francisco. but there was no question that it was Urso’s performers. No doubt the young Camilla Armed with a letter of introduction from the festival. Her name headed the advertisements, Urso, who was part of the Grand composer Auber,18 Urso soon enchanted the and her directions were mentioned in the Combination Concert, absorbed many details citizens of San Francisco with her newspaper accounts of the rehearsals.22 about Jullien. performances. She gave two performances Barnard’s biography of Urso describes the Henriette Sontag left New Orleans to go at Platt Hall and then a Sunday Sacred Concert preparation for the festival from the to Mexico. Camilla Urso was to have rejoined that was described by the Daily Examiner as continued on page 8

The Bulletin for the Society for American Music • Vol. XXVI, No. 1 7 “Lady” continued from page 7 playing was listened to with that intensely 6. Marwood Darlington, Irish Orpheus quiet attention that is most gratifying to a (Philadelphia: Olivier, Maney, Klein Co., 1950) remodeling of the Mechanics’ Pavilion to the performer, and most significant of his or her 19-32. building of a great organ and “a drum more 7. Charles Barnard, Camilla: A Tale of a Violin rank. She is a rarely sympathetic violinist, and 23 (Boston: Loring, 1874) 101, 110. portentious [sic] than the Gilmore affair.” He her technique, though not always so certain 8. Dwight’s Journal of Music, 30 March further states that Urso underwrote the as it used to be, is wonderfully fine. She plays financing of the event, a fact that points to her 1867, 7. always with closed eyes, which looks rather 9. “Camilla Urso,” Dwight’s Journal of Music, financial success as a concert artist. “Every bill odd till one gets used to it. The audience was 30 January 1869, 391. was in her own name, be it for organ, inconsiderate enough to demand an encore 10. Darlington, Irish Orpheus, 39-40. The contractors, printing music books or agents’ after she had played the long Mendelssohn famous Norwegian violinist, Ole Bull, initially fares by rail or boat.”24 The Daily Examiner concerto, and she responded with a caprice accepted the position of first violinist for the of 19 February 1870, noted that $20,000.00 Jubilee, but apparently he found the task not to of Wieniawski’s, which she played his liking. He retired after one day. “Boston 28 worth of tickets had been sold by that date exquisitely. Musicians,” Dwight’s Journal of Music, 3 July and that Samuel Mayer, organist and tenor, 1869, 59. had traveled inland to deliver instructions to 11. Ibid., 55-57. musical societies that were practicing for the 12. “Musical and Theatrical,” The Daily event. Even Ole Bull came to town to do a Picayune (New Orleans), 19 February 1854, 1. series of concerts at Platt’s Music Hall. No 13. The Daily Picayune (New Orleans), 19 February 1854, 4 and 21 February 1854, 1. doubt he expected that the crowds attending 14. The Daily Picayune (New Orleans), the festival in the afternoons would come to Evening edition 9 March 1854, 1. hear him in the evenings. 15. While Barnard’s biography gives the date In imitation of Gilmore’s Boston Jubilee, a of this event as 1855, this is contradicted by a grand presentation of the “Anvil Chorus” from reference in Pen and Sword, the Life and Journals of Randal W. McGavock, edited by Il Trovatore and of the “Star Spangled Banner” Herschel Gower and Jack Allen, (Nashville: was planned. The Examiner describes these Tennessee Historical Commission, 1959), 365. pieces as having a chorus of 1200 voices The Daily Gazette of Nashville also shows accompanied by “Organ, Grand Orchestra, performances by Macready and Urso in the issue of 3 May 1856. Another version of this Full Military Band, Drum Corps of the City event is given in Eminent Women of the Age, Militia, 50 Anvils, 100 Firemen, City Fire Bells, edited by James Parton, Reprint edition by Arno and Cannon, to be fired from the Stand of the Press Inc., 1974, p. 559. Leader by the use of electricity.”25 The event 16. Charles Robert Crain, “Music Performance garnered so much enthusiasm that a grand and Pedagogy in Nashville, Tennessee, 1818- Fig. 2: Poster for Concert Train, 1869. 1900” (Ph. D. diss., George Peabody College for ball and benefit were given for Urso on Friday Collection of the author. Teachers, 1975), 112. evening of the festival week, and the festival 17. These events are verified by church and was extended for two more days. In her later years, Camilla Urso pleaded for census records of Nashville, Tennessee. Urso herself did not perform until the equality for women musicians as orchestra 18. “Amusements,” Daily Examiner (San second day. While the Examiner noted that members.29 With her own successful monster Francisco), 23 November 1869, 3. 19. “Sacred Concert,” Daily Examiner (San 12,000 people were in the audience and they concert, she certainly proved herself equal to Francisco), 29 November 1869, 3. rose and cheered her when she was two of the world’s great concert organizers, 20. Charles Barnard, Camilla: A Tale of a introduced, no description was given of her Louis Jullien and Patrick S. Gilmore. Violin (Boston: Loring, 1874), 113-114. performance of Beethoven’s Violin Concerto. 21. Advertisements, Daily Examiner (San Her ball was attended by several thousand Betsy Miller has been writing a series of Francisco), 15 February 1870, 2. people who were described as “the beauty, articles about nineteenth century performers “Brief Local Mention,” Daily Examiner 26 culture and refinement of the city,” and the whose lives intersected with her Pelham and February 1870, 3. 22. Details of Urso’s Grand Musical Festival festival itself was termed “so grand a Hopper forebears. Harry George Hopper, a can be found in issues of the Daily Examiner 26 success.” Twenty-seven thousand dollars London-trained pianist, emigrated to Boston for February 1870. were given to the Mercantile Library after all about 1885. He toured with Camilla Urso in 23. Barnard, Camilla: A Tale of a Violin, 115. the bills were paid. 1888. 24. Ibid., 115-116. Perhaps the best account of Camilla Urso’s Notes 25. Advertisements, Daily Examiner (San playing appears in a review of a performance 1. “Musical Intelligence,” Dwight’s Journal of Francisco), 15 February 1870, 2. for the Handel and Haydn Society in the Daily Music, 7 January 1854, 111. 26. “Local Intelligence,” Daily Examiner (San Examiner of 22 February 1889. Apparently 2. Adam Carse, The Life of Jullien (Cambridge: Francisco), 26 February 1870, 3. W. Heffer & Sons Ltd., 1951) 21. 27. “A Brand New Oratorio,” Daily Examiner the reviewer remembered the festival of 1870 (San Francisco) 22 February 1889, 8. as he described the concert as “bringing 3. Ibid., 53-54. 4. H. W. Schwartz, Bands of America (Garden 28. Ibid. Madame Camilla Urso again before a public City, N. Y.: Doubleday & Company, Inc., 1957) 29. Susan Kagan, “Camilla Urso,” The Strad which she bewitched with her violin eighteen 16. Gilmore became conductor of the Boston 102 (February 1991): 150+. or twenty years ago.”27 The review continues Brass Band in 1852. with a fascinating description of one of the 5. Musical Intelligence, Dwight’s Journal of great violinists of the last century: Music, 13 August 1853, 151 and 26 November 1853, 62. Mme. Camilla Urso’s appearance was the signal for a very cordial reception, and her

8 The Bulletin for the Society for American Music • Vol. XXVI, No. 1 Reflections on the Fort Worth Conference

E. Douglas Bomberger music by an orchestra transported from New It was at the 1890 convention in Detroit University of Hawaii York at great expense. The 1888 convention that the movement enjoyed its greatest in Chicago featured the Theodore Thomas artistic triumph. Theodore Thomas and his Editor’s Note: The following article refers orchestra, which drew an estimated 10,000 orchestra played no fewer than three grand to the events of the 1999 annual to the final American concert of the festival concerts of American music, and their conference of the Society. I regret that I convention. The 1889 meeting in fee of $4,500 was fifteen times the entire could not print it in a more timely Philadelphia, though not up to the standard convention budget for 1883. In the flush of manner, but find that the opinions of previous conventions, also featured enthusiasm from the successful concerts of expressed herein are still pertinent to the American works. American music, the leaders of the MTNA free exchange of ideas represented by The MTNA had initiated an idea that was were eager to showcase their specialty in a this publication. right for its time. Following their example, more auspicious forum – the World’s other organizations around the country Columbian Exposition scheduled for 1893 Angry words, proposals and counter- began presenting similar concerts. By 1890 in Chicago. The officers chose a committee proposals, parliamentary irregularities, a new there had been so many all-American and planned a course of action before the name – the reports that reached me from the concerts that Henry Krehbiel noted, “the 1890 convention. They presented the plan conference in Fort Worth were at the final business session of the surprising and disturbing. But they convention, expecting that their ideas were not unfamiliar. It all sounded If men could learn from history, would be passed without opposition. uncannily similar to another business The resulting argument was so session of another organization what lessons it might teach us! vigorous and so uncharacteristic of promoting American music in a But passion and party blind our eyes the normally staid organization that different era of our country’s history. it is worth reprinting in this colorful Though we pride ourselves on the and the light which experience gives description from the American Art pioneering work done by The is a lantern on the stern, Journal: Sonneck Society in support of There the matter of analyzing the American music since 1975, the which shines only on the waves association’s position anent a organization is by no means the first behind us! Festival during the World’s Fair to pursue this goal. In fact the efforts came up. The vice-presidents of the Sonneck Society pale beside — Coleridge reported a complete line of action those of the Music Teachers’ National for an International Congress of Association (MTNA) in the 1880s. Musicians at Chicago in 1893, to be Their efforts eventually ended because of American composer . . . after long suffering given under the auspices of the M.T.N.A. infighting over the future of the association neglect, now seems to be in imminent The following commission and officers for and its American agenda that exploded at danger of being coddled to death.”1 the proposed congress were nominated: Dr. the final business session of the 1890 Early in this movement, the leaders of the Ziegfeld of Chicago, president . . . [a long convention. An examination of the rise and MTNA became convinced that their name list followed, in which the current officers fall of this group provides an object lesson no longer reflected the exciting new of the association figured prominently]. that may hold insights for the members of direction of the organization, and as a These names were very imposing, the project our organization as well. consequence a new name, “The American seemed most delightful, and the association At annual conventions from 1884 to 1890 Society for the Promotion of Musical Art,” had puckered its lips to make it a fact when the MTNA presented concerts consisting was proposed in 1885 by Albert Ross S. G. Pratt, a gentleman with a clear head and exclusively of American music, each one Parsons. For some reason the name did not a lot of self-control, arose and began to grander than the last. The 1884 convention catch on, and in 1890 the issue arose again. expatiate upon the importance of the project in Cleveland was the first to feature American This time a “committee on the President’s in hand. There were cries of “question,” and music with a piano recital of American works address,” recommended “that the the chair, holding that the project had long played by Boston pianist Calixa Lavallee. Association assume its proper title, as since been determined to be most desirable, This was so well received that an orchestra adopted in New York in 1885, viz.: Music declared the gentleman out of order. But Mr. was assembled to present a concert of Teachers’ National Association, The Pratt didn’t want to sit down; he kept right American choral and orchestral works at American Society for the Promotion of on talking, and in a moment the association’s New York in 1885. Not to be outdone by Musical Art; and, further, that the Executive first symphony in temper was exhibited. their Gotham counterparts, the organizers Committee be instructed to take proper steps of the 1886 convention in Boston presented for the legal change of the corporate name.”2 “Sit down. Keep quiet!” howled Mr. Pratt’s two concerts of American orchestral works. Mercifully, the cumbersome name does not unwilling auditors, but the demonstration The 1887 gathering in Indianapolis was seem to have been used except in the did not move him. expanded from three to four days in order Official Report of 1890. to allow for more performances of American continued on page 10

The Bulletin for the Society for American Music • Vol. XXVI, No. 1 9 “Reflections” continued from page 9 known his objection. This granted, Mr. Pratt Promoting American music is a divisive criticized the system of organizing the A little man with a red face and much fervor business. One of the most difficult questions commission. He wanted a commission yelled: “He tried that dodge in the committee, addressed by both the MTNA and the and he can’t come it here!” nominated which would meet at Chicago in September, elect its own officers and perfect Sonneck Society is that of what constitutes “But I maintain,” came the stentorian tones its own organization. He thought the “American” music. In the early years of their of Mr. Pratt, “that I have a – ” secretary and treasurer, as nominated, were campaign, the MTNA’s policy was broadly better qualified for other branches of work inclusive—anyone who lived in America and Pandemonium again drowned the objector. in the proposed festival. There would be was willing to be called an American was E. M. Bowman, who is large, bland and $100,000 to handle, and he wanted a banker, welcome. As the years went by, certain imperturbable, walked down the aisle and not a music teacher, to handle it. “This will members questioned whether Canadian asked for enlightenment. He wanted to be called a measure for private benefit, and composers could really be considered know why Mr. Pratt was not granted an the odium will fall upon the M.T.N.A.” American, or whether recent immigrants and audience. The chair said Mr. Pratt did not temporary residents had the same rights as discuss the question before the house. Mr. This raised another protest, and the chair those born in the United States. Antonin Heath, of Fort Wayne, again moved the plan called Mr. Pratt to order. The Heath faction Dvorák’s 1893 imperative on what should of the vice-presidents be accepted. Mr. Pratt was wild, and right in the midst of all this constitute the basis of American art music shouted in the din that he had an confusion Mr. Pratt was asking for more time. made the issue even more divisive. amendment to offer. The chair recognized “Give him more rope!” cried a Heathite. The Sonneck Society has been noteworthy Mr. Pratt, who walked down the aisle to the for its acceptance of the entire gamut of orchestra pit with some manuscript in hand. However, Mr. Pratt was authorized to American music. Where else could you He began to read about the gigantic continue, and when he had done Mr. Heath expect to hear the music of Horatio, Charlie, importance of a World’s Festival. The chair amended the amendment of Mr. Pratt by a and Alice Parker given equal respect and again stopped him, cautioning him to present motion to accept the plan of the vice- the amendment. This was an incentive for attention? Hopefully we can continue to presidents, with the exception of the the opposition, who renewed cries of show the broad interests and inclusive spirit nominations of secretary and treasurer. This “question.” epitomized by the work of Oscar Sonneck. motion was carried 42 to 12, and Mr. Pratt Elder statesmen are irreplaceable. During “Mr. Chairman!” left the theatre. Then Mr. Perkins was elected its years of rapid growth, the MTNA alienated secretary and Mr. Heath treasurer, as per some of its founding members. What the In the carnival of discords a woman’s treble original plan. President Parsons dashed his executive officers discovered during the was heard. A pretty brunette, looking very ’kerchief about his face, heaved a sigh, and subsequent decline was that those early 3 cool in a blue and white challie and a white adjourned the association sine die. leaders were sorely missed. A prime example straw hat, stood on tip-toes in the rear of the was Theodore Presser, co-founder of the parquet, calling vigorously. This business session turned out to be the organization in 1876. He withdrew his active The excited members in front, who couldn’t downfall of the organization. The members support after his performance as secretary talk fast enough, paid no heed to the latest never reached agreement on a course of was criticized and the 1889 convention in his participant in the debate, but howled right action for the World’s Columbian Exposition, home town of Philadelphia did not live up on. The president nearly demolished his with the consequence that the MTNA held to expectations. By losing his support, gavel. only a brief and poorly attended meeting in though, the MTNA lost at least two valuable Chicago during the summer of 1893. Over assets. First, it lost the platform of his journal, “There’s a lady trying to talk,” he yelled. the next decade the membership declined The Etude, which had previously given sharply, and the conventions were somber extensive coverage to the MTNA but devoted The uproar subsided, and the perspiring gatherings that reminded the diehard only minimal space to its concerns after his combatants turned about in surprise. “I adherents how far they had fallen from their departure. Secondly, it lost his deep pockets. wanted to motion,” said the young woman, glory days of the 1880s. When the association The Presser Foundation is today with evident embarrassment, “that Mr. Pratt came to life again in the twentieth century it a multimillion-dollar philanthropic orga- be heard.” was through a recommitment to its original nization supporting music in the United “Just give me five minutes!” cried Mr. Pratt. pedagogic agenda, which has allowed the States, and the MTNA could have used his group to flourish to the present. generosity during the 1890s. He started his paper anew, but his voice was What does this mean for the Sonneck As with the MTNA, the founding members engulfed in protests. Society? I would not suggest that the two of the Sonneck Society have been the most organizations are analogous, despite a generous financial supporters of the “This is gag law!” shouted Edmund Myer, of number of superficial similarities. Our organization. More importantly, they have New York, excitedly, springing to his feet constituency is different, our organizational the “institutional memory” that we younger and shaking a fist at the speaker. goals are different, and our future will most members lack. Common sense suggests that “Yes, let this gentleman be heard,” dryly likely be different from that of the MTNA. At a healthy organization needs young members supplemented Mr. Heath, who led the faction the risk of seeming moralistic or didactic, with energy and new ideas as well as opposing Mr. Pratt. though, I would suggest that some of the experienced members who can keep the lessons the MTNA learned might help the young ones from repeating the same Constantin Sternberg moved that Mr. Pratt Sonneck Society to avoid similar pitfalls. mistakes in every generation. be given five minutes in which to make continued on page 17

10 The Bulletin for the Society for American Music • Vol. XXVI, No. 1 PERFORMANCES OF NOTE

The Music of Amy Beach: Samuel Barber Festival A Cross-Disciplinary Conference could not resist also discussing the most Brahmsian of Beach’s compositions, her Several musical events comprised a Samuel A highly successful conference, “The Music Violin Sonata. Her use of the subdominant Barber Festival this past summer and fall in of Amy Beach: A Cross-Disciplinary key for the second theme group in the first the composer’s home town, West Chester, Conference,” was held at the Mannes College movement of the piano quintet is rare and Pennsylvania. Jointly sponsored by the of Music on 5 December 1999. In an possibly unique, according to Frisch. Samuel Barber Foundation and the West innovative format of sessions organized Following the paper, the question of Beach’s Chester University School of Music, the festival around a single piece or set of pieces, the relation to theories of gendered sonata form began with a concert by pianist Carl Cranmer, conference brought together musicologists, was raised, with Suzanne Dunlap wondering performing Barber’s Nocturne, Op. 29, and theorists, and performers. Organized by if this unusual use of the subdominant might the Sonata, Op. 26. Another concert the Adrienne Fried Block and L. Poundie be a function of gender. following day featuring several of Barber’s Burstein, the conference was sponsored by In discussing Beach’s Quartet for Strings, choral works were part of the borough of Mannes, the Ph.D. Program in Music of the Op. 89, Wayne Schneider offered a detailed West Chester’s bicentennial celebration. Graduate Center (CUNY), and the Project for report on the reception and lengthy pathway Two additional events concluded the the Study of Women in Music. to publication of the work. Beach completed Barber Festival. The first, entitled “Samuel The first session was on Beach’s Ballad for it in 1929, but the onset of the Depression was Barber and His West Chester,” featured Piano and song “My Luve is like a Red, Red an obstacle to publication, and Block’s edition keynote speaker Barbara Heyman, author of Rose,” upon which the piano work is based. of 1994 in the Music of the United States of Samuel Barber: The Composer and his Music. Stephen Burnaman, pianist and scholar, America series (MUSA) was the first Dr. Heyman’s paper, “Samuel Barber’s ‘Tale offered insights on Amy Beach as a pianist, publication. In “Analytical Perspectives on of Two Cities,’” compared incidents of considering her training, approach, and Beach’s Quartet for Strings” Ellie M. Hisama Barber’s childhood in West Chester to the critical responses to her playing. He also associated the work’s Grave introduction to reminiscences of James Agee as set in Barber’s presented Beach’s own observations about the vocabulary of Beethoven’s Quartet Op. famous Knoxville: Summer of 1915. Other performing and complete lack of stage fright. 59/no. 3 and Mozart’s “Dissonant” Quartet. papers addressing the composer’s formative Music Theorist Steven Bruns discussed the She also cited sources for the Inuit themes years were presented by Thomas Winters, a relationship of the Ballad to the song, which upon which it draws. member of West Chester University’s Music sets a Robert Burns text. Mary Katherine An important late choral work, The History Department; Jeffrey Miller of Kelton (mezzo soprano) and Sylvia Kahan Canticle of the Sun was the focus of the final Wilmington, Delaware; and Steven McGhee, (piano) presented a stirring rendition of the session. Betty Buchanan considered Beach’s a music student at WCU. Selections from song, and then Kahan performed the Ballad. religious identity in light of the resurgence of Barber’s first opera The Rose Tree, composed In the session on the Theme and Variations medieval-inspired Anglo-Catholicism within when he was ten, some of his early songs, for Flute and String Quartet, (1916), theorist the Romantic movement. Carol Matthews and several songs by Barber’s uncle, Sidney Cynthia Folio considered “narrative and offered a detailed investigation of the structure Homer, were also performed. hidden meaning” in the quintet, which is and musical language of the work, drawing The second event, “Samuel Barber: A Day based on Beach’s “Indian Lullaby” for as well on Beach’s associations of various of Reminiscence and Celebration,” recreated women’s chorus. Because, in this work, the keys with certain moods and colors, to reveal the West Chester of 1926 when Barber flute often stands apart from the strings, the piece as a powerful statement of Beach’s graduated from West Chester High School. texturally and stylistically, one interpretation own personal theology. Two local historians, Martha Carson-Gentry might be that the instrument represents The all-Beach concert that evening offered and Paul Rodebaugh, were the principal Woman as the feminine exotic Other. Beach’s a varied and compelling range of music, speakers, while other insights were provided Three Robert Browning Songs, notable beginning with Peter Basquin, piano, in the by Thomas Winters and Michael Peich, a because of their widespread fame, were “Hermit Thrush” pieces, Op. 92, followed by member of the English Department at WCU. considered by Laurie Blunsom in light of the songs performed by Mary Katherine Kelton Several recorded reminiscences of the contemporary craze for Browning’s poetry. and Rufus Hallmark, tenor, with Sylvia Kahan. composer’s teen years were presented from Theorist Nancy Yunhwa Rao discussed The Harid Quartet, the Graduate String the archives of an ongoing oral history project Beach’s approach to phrase structure in her Quartet at Mannes, gave a riveting that was started by the Music History paper “Metrical Dissonance and Musical performance of The Quartet for Strings in One Department just after Barber’s death in 1981. Expression in Three Browning Songs.” Movement. Joanne Polk’s performance of The Samuel Barber Foundation and WCU’s Soprano Monica Zerbe and pianist Carol Goff Beach’s Prelude and Fugue, Op. 81 for piano School of Music are planning additional offered compelling performances of these closed the concert. performances of Barber’s music in the coming dramatic pieces. —Liane Curtis months. Walter Frisch had been invited to consider —Sterling Murray Beach’s Quintet for Piano and Strings but West Chester University

continued on page 12

The Bulletin for the Society for American Music • Vol. XXVI, No. 1 11 “Performances” continued from page 11 and vocal YAA ensembles. The Festival’s performance of Calvin Taylor’s Fantasy on Oregon Festival second week began with a second “mixed Deep River and also gave a fine rendering of of American Music 1999 concert” conceived by immediate past Charles Griffe’s Poem for Flute and Orchestra, “How Sweet the Sound — Sonneck Society president and OFAM board with undergraduate senior Hannah Hopkins- From Gospel to Swing” member Anne Dhu McLucas. Violinist Fritz Maupin as the soloist. The Concert Band and Gearhart, pianist John Owings, tenor David Wind Ensemble performed a variety of During its 1999-2000 season, the Oregon Howell, and a Gearhart-Leslie Straka-Sylvie American music as well, featuring works such Festival of American Music (OFAM) presented Spengler-Pilar Bradshaw quartet delivered as Donald Grantham’s J’ai été au Bal, Barber’s two festivals that ran the course from Cajun William Schuman’s Chester, Charles Ives’s Comando March, and Bernstein’s Candide two-steps and beguines to jubilee gospel and Violin Sonata No. 4 and “Four Songs” Suite. Finally, singing school master and author Charles Ives. OFAM’s Twin Rivers Traditional (including “General Booth”), Florence Price’s of The Kentucky Harmony, Ananais Davisson, Music Festival was a two-day event under the “Five Folksongs in Counterpoint,” and William returned from the beyond to lead a singing director of French Louisiana fiddler Michael Grant Still’s Suite for Violin and Piano. The school for the Appalachian Association of Doucet. His popular French Louisiana evening concluded with a powerful set of Sacred Harp Singers. Construction is on ensemble BeauSoleil were joined by an spirituals by jazz singer Marilyn Keller and schedule for completion of the new John eclectic company of great musicians from pianist Janice Scroggins. Jacob Niles Center for American Music which “Louisiana and beyond.” The first night led Dick Hyman modeled the second three- will open in September 2000. The Niles Center off with San Antonio clarinetist Evan concert weekend of the Festival loosely and the University of Kentucky are looking Christopher, who surprised and delighted the around the 1938-39 John Hammond Carnegie forward to hosting the Society for American audience with his new group “Jazz a la Hall concerts, “From Spirituals to Swing.” The Music Conference in Spring 2002. Creole,” delivering a lively set of traditional opening concert included a boogie woogie —Ron Pen Caribbean tunes with a particular focus on set by Detroit giant Bob Seeley and Hyman’s University of Kentucky the work of Martinique clarinetist Alexandre Swing Wing, several numbers by clarinetist Stellio. The evening included the premier Kenny Davern, a jubilee gospel set by The Society Cajun band Balfa Toujours and top Zydeco Clarence Fountain and The Blind Boys of for American Music accordionist Geno Delafose and his band Alabama, five gospel numbers by Ruth French Rockin’ Boogie. The following day Brown, and the West Coast premier of Dick is pleased to welcome was decidedly more eclectic, including Darol Hyman’s “The Longest Blues In the World.” these new members: Anger and His Jazz Guys with special guest The last two nights of OFAM 99 featured Terrie Aamodt College Place, Washington Nassim W. Balestrini Mainz, Germany pianist Phil Aaberg and BeauSoleil avec the entire ensemble from the previous Brett Boutwell Champaign, Illinois Michael Doucet. evening, with 350 audience members of all Gary R. Boye Durham, North Carolina The Eighth Annual Oregon Festival of ages dancing. The closing Saturday concert James R. Briscoe Indianapolis, Indiana Tony Bushard Lawrence, Kansas American Music, “How Sweet the Sound: focused on classic southern jubilee and William Carey Coll Hattiesburg, Mississippi from Gospel to Swing”, was dedicated to Chicago gospel blues with a bit of traditional Keith E. Clifton Cedar Rapids, Iowa exploring the inter-relationships between jazz thrown in. David Peter Coppen Rochester, New York Alice D. Firgau North Plainfield, gospel blues and jazz. Conductor James Paul —Jim Ralph New Jersey and jazz advisor Dick Hyman introduced the Oregon Festival of American Music Anna Wheeler Gentry Northport, Alabama ten-day festival with a “mixed concert” that Thomas Gregg Boston, Massachusetts Thornton Hagert Cambridge, Maryland began with a shape-note version of “Amazing American Music Month at UK Edward Harsh New York, New York Grace” and ended with the Jim Cullum Jazz William Hogeland Brooklyn, New York Band, Topsy Chapman, Dick Hyman’s Age The University of Kentucky was pleased to Andy Jaffe Conway, Massachusetts R. Kevin Johnson New York, New York of Swing playing “When the Saints Come celebrate its second American Music Month Eden Kainer Madison, Wisconsin Marching In.” In between was Roy Harris’s with a very full calendar of events. The month Kevin Karnes Mercer Island, Washington Arthur Knight Williamsburg, Virginia Folk Song Symphony, nineteenth-century opened with the Ellington Symposium and Dorian Leljak New Haven, Connecticut psalms, spirituals, gospel, traditional New final concert of the Ellington Centennial Series. Mary Anne Long Madison, Wisconsin Orleans jazz, and swing. The Festival’s first Symposium guests included David Baker, David L. Matson Cedarville, Ohio Georgiary Mcelveen Chapel Hill, weekend saw four more concerts that John Hasse, Ann Kuebler, Andy Jaffe, and North Carolina included pieces ranging from Isaac Watts and Aaron Bell. This was an exciting way to close Kevin Medows Champaign, Illinois William Billings to W. C. Handy, George out the observance of this remarkable Peter Muir New Canaan, Connecticut Susan M. Potter Defiance, Ohio Gerswhin, Sy Oliver, Vincent Youmans, Billie American musician’s birth. Most of the Andrea Schewe Silver Spring, Maryland Holiday, and Dick Hyman. university’s major ensembles participated in Robert L. Stone Gainesville, Florida The Festival’s involvement with young American Music Month this year. The Chris Strachwitz Berkeley, California Stephane VanderWel Los Angeles, California musicians and community amateurs is strong, University Opera Theatre presented Copland’s Cassandra M. Volpe Louisville, Colorado this year including 80 members of the Young opera The Tender Land, The Lexington Singers John Wickelgren Frederick, Maryland Artists Academy and 35 members of the YAA performed an all-American concert including Mina Yang San Francisco, California vocal ensemble. A highlight in this schedule world premiers of Joseph Baber’s An Institutional is always the community jam offered by the American Requiem and Jay Flippen’s Three UCLA. Department of Musicology Los Angeles, California Festival during the afternoon at the close of Songs based on the poetry of poet laureate University of Cincinnati, the first weekend. This year’s “jam” involved James Still. The University Symphony Main Campus Central full presentations by the strings, jazz band, Orchestra presented a world premiere Library Cincinnati, Ohio

12 The Bulletin for the Society for American Music • Vol. XXVI, No. 1 And So They Fled: Eighteenth-Century Fugitive Slave Musicians

Georgia Peeples Samuel Dimoret; about 6 feet, 3 inches high; accomplished Black musicians might be University of Akron a remarkable good fiddler, has great nostrils transported about the countryside for various and mouth, steps large and loping: Whoever performances. During these ventures, slave will convey him to the subscribers, or secure musicians gained a wider knowledge of the Twentieth-century notions of slave him in any of his Majesty’s goals, and give world around them, probably making musicians have been tainted by nineteenth- them notice therof, shall receive ten dollars important contacts as well. This exposure to century attitudes and prejudices, which reward, and all charges paid by Caleb travel undoubtedly contributed to the Lobdell. tended to emphasize the spiritual as the Newport Mercury, knowledge of escape possibilities for slave pinnacle of Black music, ignoring or 6 February 1775: 41 musicians. minimizing the importance of other types of Other runaways seem not to have been Two Hundred Dollars Reward. Ran away music and music-making.1 Eighteenth- primarily musicians, but slaves with other from the subscriber, living in Frederick Town, century descriptions of slave musicians had occupations who had developed some skill Maryland, on the 6th instant, a Negro man established and perpetuated this stereotype named Bristol, about 20 years of age, about in musical performance. Many citations refer of the Black musician as capable of some five feet seven or eight inches high, middling to such fugitives: musical performance, but lacking in the black, country born, a well made fellow, Ten Pounds Reward . . . Ran away from the ability to compose. William Priest, an English plays the fiddle, is very artful and active. subscribers, living near Soldiers Delight, in musician and writer who traveled Abraham Faw, Baltimore County, Maryland, a dark mulatto Pennsylvania Packet-Philadelphia, throughout the United States in the 1790s, 23 May 1780: 43 slave, who goes by the name Charles remarked in an 1802 travelogue that: Harding, but formerly by the name of Dick; Ran away from the subscriber, in Sussex In music they (Black musicians) are generally . . . a carpenter and joiner by trade, and can county, a likely, short, stout mulatto lad, aged more gifted than the whites with accurate paint, . . . and since he left his former masters about 20 years, American born, used to ears for tune, and time; and they have been in Virginia, has learnt to read and write, and horses and waiting in the house, plays well found capable of imagining a small catch. to play on the violin. on the fiddle and French horn . . . can read Samuel Owens, jun., Alexander Wells, Whether they will be equal to the and write; he is a pert, saucy fellow. Maryland Gazette-Annapolis, composition of a more extensive run of 16 July 1772: 31 Whoever takes up the servant above melody, or of complicated harmony, is yet described, and secures him so that his master Forty pounds hard money reward . . . Mark, to be proved.”2 can have him again, shall have fifty pounds about 25 years old, a stout able black fellow, reward, and all reasonable charges paid by about 5 feet 8 inches high, born in the island Along with this notion of inferiority of me. of St. Jago, and speaks the Portuguese intellect came the perception of slaves and, William M’Cullough, language . . . remarkable for his ingenuity; indeed, slave musicians, as somewhat New Jersey Gazette-Trenton, 28 July 1779:43 and although he has worked with a stone complacent and accepting of their fate, often mason and brick layer, has no particular trade deeply religious, and faithful to their owners. Run away from the subscriber on the by being capable of doing something at Yet, there is strong evidence against these evening of the 20th June last, a Negro man almost every kind of business, blows the stereotypes and, indeed, evidence that these named Dan . . . Said Negro is this country French horn, can play on the fiddle, whistles gifted slaves often used their ingenuity to born, and talks the English and German many tunes well, and to be heard at a escape their bondage. Within the wealth of languages, is fond of playing on the fiddle, surprising distance, is fond of marches and information cited in the database, is naturally left-handed, and what is very church music, particularly that belonging to Performing Arts in Colonial American remarkable, he bows with his left hand when the Roman Catholick religion, which he Newspapers, 1690-1783,3 are hundreds of performing on the violin. professes. Christian Wirtz, William Allason., advertisements for the return of runaway New Jersey Gazette-Trenton, Virginia Gazette-Richmond, musician slaves and indentured servants, 9 February 1780: 3/111 9 August 1780: 32 many of whom fled taking with them the These fugitives seem to have been Ran away from the subscriber, in Amelia musical instruments on which they were specifically trained as musicians, perhaps County, in Virginia, in May 1759, a very likely skilled. Consider, for example, these notices functioning as professional performers. Negro man, named Dick (but used to call of musician runaways: There is ample evidence that some slave himself Richard Jenkins) about 30 years old, Run away from the subscriber, living at owners kept trained musicians to play of a middle size, well set, very black, his back Philipsbourg, a mulatto servant man, named both for dances for the slave population much scarified, is a good sawyer, and plays Henry, aged 23 years . . . he plays very well and social gatherings of the white on the violin. Whoever conveys the said on the violin. establishment.4 This practice of training Negro to me, shall have ten pounds reward. Samuel Davenport, slaves as musicians was in keeping with the Wood Jones., New York Gazette & Weekly Post Boy, Maryland Gazette Annapolis, 9 Oct. 1758: 43 common practice of training slaves in other 10 July 1760: 33 useful crafts, as mechanics, carpenters, or Ran away from his master, a Negro man, artists.5 Just as skilled slaves might be “hired Twenty Dollars reward. Ran away from Mr. named Ishmael, but goes by the name of out” to work off the plantation, John Hammett, of Prince-William County, continued on page 14

The Bulletin for the Society for American Music • Vol. XXVI, No. 1 13 for a free man . . . Twenty dollars reward run away ten years, his name is Essex, alias Call for Editor of and reasonable charges. Sussez. I am informed that he has passed Samuel Jackson., for a freeman and taken the surname of American Music Pennsylvania Evening Post, 14 November 1776: 5712 Scott, and goes sometimes by water . . . He The Board is seeking an editor for is about twenty nine years old . . . and was American Music. The new editor will Thirty Dollars Reward. Ran away last night very fond of playing on the fiddle before need to begin the acquisition of articles from the subscriber, a Negro lad named he left me. in the Fall of 2000 for volumes 20-23, Tom, of a middle stature, about 19 years Anthony Winston, of age . . . As he is a tolerable good fifer, it Virginia Gazette-Williamsburg, with the full responsibilities of the 15 May 1779: 214 position beginning in 2001. is supposed he will attempt to pass for a Qualifications include a broad free man, and endeavour to get employ as Thus, those who succeeded, thanks to knowledge of and contacts within the a fifer to a Company, as he went to Trenton skill, ingenuity, and determination, might field of American music, proven about six weeks ago with a soldier, as a escape to another colony and begin a new editorial abilities, and institutional fifer, but was there apprehended and put life with a new identity. Clearly, these were in goal. support for the position. Nominations John Duffield, among the most clever and daring of any are welcome at any time. A letter Pennsylvania Packet-Philadelphia, musicians of any time, not only gifted as of application and a résumé are due 6 May 1777 performers, but also aware of their own by 1 June to Anne Dhu McLucas, Indeed, during the Revolutionary War, value and willing to risk everything for a School of Music, 1225 University of Black slaves were welcomed into the free life. Oregon, Eugene, OR 97403-1225; British forces. Slaves who fought for the [email protected]. British in Virginia were promised freedom Georgia Peeples is a Professor in the School in a proclamation issued in November of of Music at the University of Akron, where she Call for Editor of 1775 by Lord Dunmore. This proclamation has taughtfor the past seventeen years. Peeples Bulletin of the Society for was extended by the British commander- is also principal bassoonist of the Akron American Music in-chief in 1779 to include all the American Symphony Orchestra and has performed with The Board is seeking an editor for colonies.6 Thus, it is little wonder that Solaris, the faculty woodwind quintet and in the Bulletin of the Society for American slaves who were gifted as performing various music festivals. At the University of Music to begin with the Spring issue of musicians sought to join the British forces, Akron, she serves as Undergraduate 2001. Qualifications include a broad where they might be assimilated into the Coordinator in the School of Music and on knowledge of and contacts within the army and granted their freedom. Other the University’s Women’s Studies Council. field of American music, diplomatic fugitive slaves managed to pass as Notes skills in dealing with members and freemen, sometimes obtaining passes to 1. Ian Anderson, “Reworking Images of a contributors, and editorial abilities. work and travel. The former owners of Southern Past: The Commemoration of Slave Nominations are welcome at any time. these newly free men were often aware Music After the Civil War.” Studies in Popular Culture 19:2 (1996): 167-183. A letter of application and a résumé that their skills would provide employment 2. William Priest, Travels in the United States are due by 1 June to Rae Linda for them: of America; Commencing in the Year 1793 Brown, Music Department, University Run away, a Negroe fellow, named and Ending in 1797 (London: J. Johnson, of California, Irvine 92697; Ishmael, well known in Savannah, where 1802), 190-191. [email protected]. he is daily employed by Masters of vessels, 3. Mary Jane Corry, Kate Van Winkle Keller, notwithstanding he has no ticket or license and Robert M. Keller, The Performing Arts in Colonial American Newspapers, 1690-1783: to work out. In the evenings he has often “Slaves” continued from page 13 Text Database and Index (New York: been seen playing the fiddle at tippling University Music Editions, 1997). Quotations Virginia, a Negro fellow named Bob, a slave, houses, to prevent which in the future, I from newspaper sources may be located about 36 years of age, 5 feet 10 or 11 inches hereby promise a reward of forty shillings within this database. high, a very black, square and well-made to any white person who will make proof 4. Ben E. Bailey, “Music in Slave Era fellow . . . He can work at the carpenter’s of his being harboured or employed as Mississippi.” Journal of Mississippi History 54:1 business, and is an excellent fiddler. (February 1992): 29-58. aforesaid. James Davis., 5. James E. Newton and Ronald L. Lewis, Maryland Journal, Alex. Wylly, 18 July 1783: 13 Georgia Gazette, The Other Slaves: Mechanics, Artisans, and 1 November 1775: 41 Craftsmen (Boston: G.K. Hall and Company, The ultimate fate of these fugitive 1978). musicians remains unknown, although The repeated notices for many of these 6. Dunmore’s proclamation. Internet. some notices hint at the possible intentions fugitives gives hope that at least some of Accessed 8/99 at www.ilt.columbia.edu/k12/history/blacks/du of the runaways: them succeeded in their escapes and made nmore. Ran away on the night of the 13th inst. from new lives. These were former slaves the subscriber, a Negro man named Caesar, whose owners considered them valuable about twenty-two years of age, a smart, enough to continue searching for some polite, likely, well made fellow, about five time: feet three inches high. . . . It is likely he is Two hundred dollars reward. To any gone towards the camp, as he is very fond person that will deliver to me in the lower of being a fifer or drummer, and may pass end of Buckingham county, a middle sized Virginia born Negro fellow, who has been

14 The Bulletin for the Society for American Music • Vol. XXVI, No. 1 LETTER FROM CANADA

This is my last Letter from Canada. As the Ford. The Society has also issued a one- on our side of the border. In the age of the new millennium comes in, I go out—this volume anthology for teaching purposes, and commodification of culture and the coining of spring I retire from the University of Toronto, two recordings on compact discs that one that chilling phrase “cultural industries,” the and I am taking the opportunity to retire from hopes will be the first of a new sound series. further onslaught of U.S. business interests in a number of other responsibilities as well. I When I compiled my bibliography Music broadcasting and publishing in Canada is have been sending off these letters for nine in Canada: A Research and Information Guide viewed with increasing alarm. Even so, years, and it is high time that Sonneck (Garland, 1997), I essentially chronicled the “culture” is a minor consideration and primarily members were treated to a new set of opinions fact that overwhelmingly the greatest activity a business one at that. In this July, the Robarts and biases from north of our mutual border. dated from after 1970. Much the same story is Centre at York University in Toronto will Such an occasion naturally triggers told in a different way in Diane Peters’ devote a full week to a conference on reflection as I think back over the changes that Canadian Music and Music Education: An “Hemispheric Integration and Social have occurred during the decade that I have Annotated Bibliography of Theses and Cohesion.” After daily and exhaustive been contributing to these Sonneck pages and Dissertations (Scarecrow Press, 1997). And examination of all kinds of political, economic, the three decades since I joined the staff of the although we in Canada think of those of you and social questions, it is only in the last half University of Toronto. I don’t recall that even in the U.S. as being far ahead of us in matters of the last afternoon that the conference gets American music had much scholarly status of local musical research, it is salutary to to “Canadian Cultural Policy in the Face of when I was a graduate student in the US, and remember that it was only in the 1970s that Growing US Domination.” It is a safe bet that when I came home to begin my academic the Sonneck Society took shape. Within the “culture” will refer to print and electronic career in the mid-1960s, Canadian musical small world of Canadian musicology, media and marketing, and “hemispheric studies hardly existed. Helmut Kallmann had Canadianists have remained a very small integration” will mean cultural defense, not published his History of Music in Canada: group. A few scholars, however, have been at projection. 1534-1915 (U of Toronto Press, 1960) but it the focus of musical studies: Kallmann notably For all this trans-border activity, there is not took time before this primary study—it really both as writer/researcher and as head of music much evidence of an increase in knowledge had no precedents—began to generate interest at the National Library; John Beckwith whose of or interest in one another at our most on a wider basis. The “quiet revolution” was activities as a composer have certainly been creative levels. I have lamented before in this underway in Québec and the energized and equaled by his work as an historian; Thérèse Letter about how little serious American music often aggressive interest of French Canada in Lefebvre who has been prominent in Québec appears on Canadian concert programs, the itself was soon to generate a body of historical studies and who has done much to maintain reverse of which is certainly true in respect to scholarship to add to the already considerable contact between our two linguistic camps; and Canadian music in the U.S. On the scholarly study of French-language folklore. Beverley Diamond whose work in the field of front, American Music goes to only about By the later 1970s, the idea that maybe there music of First Nations has not limited her wider twenty addresses in Canada, and the was such a thing as Canadian musical history influence on how we think about modern Canadian University Music Review was beginning to take shape, with two historical study. (www.upei.ca/cums), the only regular source significant results in the 1980s. The first was A problem in Canada has always been the of publication on Canadian musical life, goes the appearance in 1981 of The Encyclopedia dissemination of material to a small population to a mere forty-three U.S. addresses—a poor of Music in Canada (in both English and in a vast territory, the music itself, never mind show on both sides considering the fact that French editions; second edition 1992); the critical study of it. In the past thirty years, a the U.S. has ten times our population. second was the appearance in 1984 of the first startling number of recordings have appeared. In the fall of 2000, Marshall McLuhan’s volume in the series under the banner of The For the world of pop music, a commercial global village will become briefly not a virtual Canadian Musical Heritage Society. With record industry was virtually born in the late but an actual reality for musical scholars when Sacred Choral Music III, The Canadian Musical 1960s. Although “serious” music recordings about fifteen music societies gather in Toronto. Heritage Society (www.cmhs.carleton.ca) has on CD have grown exponentially on labels The high walls around narrow academic just completed a twenty-five volume anthology chiefly from the Canadian Broadcasting disciplines will no doubt contribute to the that is historical in every way. The series Corporation and the Canadian Music Centre, maintenance of scholarly solitudes, but includes repertoire from the earliest colonial few, however, make their way abroad. perhaps some participants will take the period up to about 1945 or 1950 and includes If after thirty years American studies are opportunity to peek over the fences. This is music of almost every category - piano, now established beyond question, and not to say that we should not all continue to chamber, songs, religious, string quartet, Canadian studies stand on solid foundations, cultivate our own gardens, but there might be orchestra, opera, choral, hymns, and organ. despite the rapid advance I cannot help but unexpected pleasures in finding out what the The very existence of the series is itself historic, feel that some things have not changed. The neighbors are doing. It offers intriguing since nothing approaching it had been Canada-US Free Trade Agreement came into possibilities for reflection thirty years hence. attempted before in Canada, and it represents effect in 1989 and Mexico was added to create — Carl Morey an extraordinary achievement of research and the North America Free Trade Agreement in University of Toronto persistence, in equal measure, of a coterie of 1994. But while it makes the business world scholars under the general direction of Clifford happy, free trade has not done much for art

The Bulletin for the Society for American Music • Vol. XXVI, No. 1 15 LETTERS TO THE EDITOR

Note: The following statement was issued by the Board of the Society for American have given what was a local argument bound together as to be virtually Music in the Fall of 1999. considerable national exposure, and we inseparable, at least at the emotional level. now know that the situation is more As a political junkie who tries to follow The Society for American Music supports complex than it first appeared to be. But the news and separate out the sensational the initiative of the NAACP to boycott the does SAM have to take a position on this from the truly meaningful, I have doubts state of South Carolina for flying the issue? about the efficacy of boycott as a tactic. Confederate flag from the Capitol dome. In The Notice in the Charleston conference Having lived under a similar boycott in the twentieth century this flag has become announcement says that SAM “uphold[s] Colorado over the notorious and now a symbol of racism and white supremacy values of diversity and equality in our thankfully overturned Amendment #2, I try and, as such, is inflammatory and offensive professional lives . . . and in our personal to examine carefully all issues of this nature to many Americans. Because of financial relationships.” Where in our Mission so as to better understand what is at stake commitments made more than two years Statement or in our ByLaws do we say this? and what positive results might be achieved ago, it is impossible to honor the boycott at Can or should we even infer such? We can by my solitary action. (I have also this time. More important than financial certainly agree that “diversity” and “equality” developed something of a southern considerations, however, is the fact that the are good, but can we really pin down what perspective from having lived for eleven conference itself will celebrate the valuable we mean by these words that, like “symbol,” years in Georgia.) racial and ethnic diversity of American carry varying shades of meaning? Does SAM The supporters of the stars and bars tell music, an important message that we leadership (the Board, the Executive us that the flag only represents the “defense believe is a contradiction of what the flag Committee, the President?) speak for all of of freedom and southern heritage.” But it is has come to represent. us with the voice of one on political issues? clear to me, since the revival of its use across We, the Society for American Music, Or should we put our SAM energy into the South coincided with the fearful reaction uphold values of diversity and equality in working within our Mission Statement and to the Civil Rights movement of the 1950s our professional lives—as scholars, teachers, direct our varying political concerns through and ‘60s, that its current meaning is performers, and consumers of American more appropriate agencies? evidently one of divisiveness, disrespect, music—and in our personal relationships. —William Kearns chauvinism, and hostility. It is reprehensible that the state of South For those who say it is only a symbol, we Carolina upholds a symbol that has become To the Editor: must answer that symbols (like songs!) are so divisive and disrespectful. We urge the I was pleased to see your front-page important and indeed often have the government of South Carolina to recognize “notice” concerning the NAACP boycott in potential to serve in the reshaping and the fact that the flag today is the very symbol the announcement for the 26th Annual reforming of society. The Southern Poverty of racism, discrimination, and “the politics Conference of the Society. I feel that your Law Center tells us recently that the number of resentment” and to remove it from the comment with regard to the display of the of young people recruited to neo-Nazi and Capitol and restore the dignity, equality, and Confederate flag at the South Carolina violent racist skinhead factions has tripled rights of all citizens and visitors to South capitol dome was entirely appropriate. At during the decade of the 1990s. New Carolina. the same time, I understand your reasons generations are flocking to such icons. They for going ahead with the meeting in do not live only in South Carolina. To the Editor: Charleston. This does create a quandary for Although I would love to silence my I was distressed to read on the first page me, however. conscience for the opportunity to see of the preliminary program of the upcoming I have been a member of the Sonneck friends, exchange ideas, and to hear my Charleston Conference, which SAM Society for all of my professional life, now students give papers, in this case, I am afraid members received in December, that we some twenty-five years. I have served on its that it just isn’t possible. It seems to me that support “the initiative of the NAACP to boards and committees, given papers at its the moral issue is clear, the proposed boycott the state of South Carolina for flying conferences, and always looked forward to solution is simple, and the use of the tactic the Confederate flag from the Capitol seeing many old and new faces at concerts, well-defined (as a “tourist boycott”). dome.” The reason given: “In the twentieth sessions, outings, and banquets. Therefore, despite having to miss long- century this flag has become a symbol of Simultaneously I have been a longtime awaited visits with fellow scholars in one of racism and white supremacy and, as such, supporter of the NAACP and its goals for my favorite organizations in one of the most is inflammatory and offensive to many justice and inclusivity. As you know, most beautiful cities in America, I regretfully feel Americans”; however, some of the of my research deals with African-American compelled to pass up the 26th Annual thousands that demonstrated recently for musical traditions, and I have been Conference. keeping the flag where it is spoke of it as a interested in the sociocultural context of I have submitted my registration fee in symbol of their heritage. Others view the music-making about as long as I have been order to continue support for the Society, “Stars and Bars” as a symbol of states’ rights. making music myself. For me the goals of but I will have to wait until 2001 to enjoy Symbols have more than one meaning. these two organizations are so intricately your collective company again. In the During the past month, the news media meantime, feel free to continue to call on

16 The Bulletin for the Society for American Music • Vol. XXVI, No. 1 “Letters to the Editor” continued from page 16 How presumptuous of Ms. Beal to review Let me end by mentioning that this is a me to help advance the goals that we all the book and never comment on the collection of theoretical essays. Ms. Beal is pursue together, namely celebrating and analyses themselves, the first, detailed a musicologist (who has, to my knowledge, sustaining the rich diversity of American analytical work ever done on Feldman’s never published either a theoretical essay music. music! If she thinks these analyses are poor or an essay on Morton Feldman). Hence, —Tom Riis or incomplete or inaccurate in any way let the emphasis in her review on my book’s her say so and defend her position. bibliography and list of compositions and However, to criticize the book for not being her complete avoidance of the book’s [The editor apologizes to Thomas DeLio what it was never intended to be is content. Let me state that the list of for publication of an incorrect version ridiculous. compositions is not incomplete (I chose not of his letter to the editor in the Summer The book is about the music of Morton to list incidental music which Feldman 1999 Bulletin. The version that Feldman. It is not a chronicle of his life and himself did not include in a list of works that appeared in that issue was a draft that times. It begins exactly where one must he sent to me); the bibliography was had been suggested to him by the editor. begin if one wants to understand this updated six months prior to publication and Following is the version of the letter that composer’s work, with a close examination contains every English language essay should have been published.] of the work itself. One cannot even attempt published up to that time (I did not include to examine the cultural context of any trivia irrelevant to a collection of theoretical To the Editor: composer’s work without first essays; reviews, brief announcements, etc.) Recently a review by Ms. Amy Beal of my understanding, in the most minute detail, Finally, the book is remarkably free of typos. book, The Music of Morton Feldman, what his music is, how it was made, and the That Ms. Beal focuses on such matters and appeared in the Sonneck Society Bulletin radical nature of its musical designs. One then fails to discuss even one essay in the (Spring, 1998). I am writing to you now to can only then begin to understand how book is truly incredible. The review correct a number of misconceptions and those musical designs link that composer deserves no further comment. inaccuracies found in this review. to the world around him (and, by the way, —Thomas Delio In my introduction I clearly state that the several of the essays in the book do attempt purpose of this book is to present a series such links). of detailed analyses of Feldman’s music.

“Reflections” continued from page 10 United we stand, divided we fall. it is up to the present members to rebuild our The real business of a conference is not Throughout the 1880s, the MTNA worked damaged bridges and search for the common business. During their idealistic rush to with remarkable unity toward common goals that can unite us. Now is the time to change the way the world viewed American goals. Despite minor differences of opinion, decide whether we will repeat history or music, some of the leaders of the MTNA the members pulled in the same direction to create it. came to believe that what they were doing improve their organization and present Notes was the most important aspect of the society. American music in the most auspicious 1. New York Tribune, 12 December 1890; An ongoing disagreement about whether the manner possible. Starting with the 1890 quoted in Sumner Salter, “Early papers or the performances were the central convention, though, the internal divisions Encouragements to American Composers,” The Musical Quarterly 18/1 (January 1932): 88. agenda of the meetings obscured the fact that became exacerbated, as hundreds of 2. Official Report of the Fourteenth Annual only became obvious in retrospect – teachers members deserted the MTNA and those who Meeting of the Music Teachers’ National came to the conventions primarily to meet remained spent their time arguing about what Association, TheAmerican Society for the their colleagues from other parts of the to do to remedy the situation. As early as Promotion of Musical Art, held at Detroit, Mich., country, regardless of the program. Members August 1892, W. S. B. Mathews opined, “On 1-4 July 1890, ed. H. S. Perkins (n.p. [1891]), pp. 164-65. complained in particular about the 1892 the whole the national association still lacks 3. “Pandemonium at the Music Teachers’ convention in Cleveland, when the papers a raison d’etre. It is one of those institutions National Convention. Discord Caused by the and performances were scheduled so tightly which once having had we cannot do Proposed ’93 Congress in Chicago.” American that there was insufficient time for “the social without; yet the best use of which we do not Art Journal 55/13 (12 July 1890): 224-25. element.” Today we might call it networking, quite understand.”4 By 1894 the 4. [W. S. B. Mathews], “Cleveland Meeting of but by any name, I would argue that an organization’s disarray was reflected in a the M. T. N. A.,” Music 2/4 (August 1892): 413. atmosphere of collegiality is at least as pamphlet entitled Shall the MTNA disband important to a well-run organization as its or reorganize? E. Douglas Bomberger is an associate “business.” Most of us remember the warm Today the Music Teachers’ National professor at the University of Hawai‘i at Manoa, welcome we received from the “old-timers” Association is a thriving organization with where he teaches courses on American art of the Sonneck Society at our first convention over 20,000 members. Its survival through music and popular music as well as the (my own was Toronto in 1990). Let’s hope the 1890s and rejuvenation in the twentieth traditional European canon. He is the editor that our disagreements over ideas and century can be attributed to the perseverance of Brainard’s Biographies of American ideologies never cause us to lose sight of the of a small group of dedicated members who Musicians (forthcoming from Greenwood) real reason we attend the meetings of the did not desert the organization. If the and is writing a book on American Composers’ society. Sonneck Society is to celebrate its 100th Concerts in the 1880s and 1890s. anniversary in the same style as the MTNA,

The Bulletin for the Society for American Music • Vol. XXVI, No. 1 17 NEWS OF THE SOCIETY

Letter from the President Letter from the Editor Dear Colleagues, By the time you read this, the Dear Readers, Happy 2000! (new millennium??) membership will have ratified the by-law I noted in the last issue that William As you all know, our beloved Kitty Keller revisions and accepted the new Long Range Kearns retired as the Editor of Recent will be retiring at the end of June. What Plan. The by-laws needed updating to Articles and Reviews. This must be the time can I say that can possibly capture the reflect our current practices and the Long for transitions as I am announcing three essence of all that she has done on behalf Range Plan is our guide to fiscal and more in this issue. Sherrill Martin, who has of the Society for so many years. Kitty programmatic planning for the next several been the Book Review Editor since well has overseen virtually all aspects of years. Thank you to both subcommittees before my tenure began, is stepping down; the Society — finances, membership for their hard work on both of these her shoes will be ably filled by Petra Meyer- development, annual conferences documents. Frazier. Amy C. Beal will replace our able (including putting together the program In addition to the above activity, we are Indexer Jim Farrington. I have not yet found booklet when necessary). She edits the very involved in the planning of the Toronto a replacement for Carl Morey, whose Directory; she is conference liaison to the and Trinidad conferences. In Toronto, we insights about American music in Canada Toronto megaconference; and she has will honor two jazz giants: Oscar Peterson have been enlightening us since 1992. I am graciously invited the Board and various will receive Honorary Membership and Billy not committed to finding a permanent subcommittees to meet in her home on Taylor will be given the Lifetime Canadian replacement for Carl, noting the numerous occasions, always being the Achievement Award. The Billy Taylor Trio illuminating letter from Hong Kong that perfect host when everyone descends on will give a concert on Friday evening, 3 appeared in a recent Bulletin. If you or a her doorstep. She always keeps this November, to which you will have an colleague might think about writing an president on task and is ever willing to pitch opportunity to purchase tickets during the opinion column about the status of in whenever necessary. Kitty has been the registration process. Please plan to attend American music in a corner of the world glue holding the Society together in tough both the Toronto and Trinidad conferences. outside of our borders, please contact the times, and she has been a primary instigator They will be special conferences and we editor. I would like to thank Sherril, Jim, and in spurring the Society on in times of hope for maximum participation and Carl for their contributions to the Bulletin. strength and prosperity. For all of this and attendance at both. A society is only as strong as its so much more, on behalf of the Society for At this time, I would like to urge you to membership; a publication is only as good American Music, I thank you. support our students to attend these as its editorial board. Thank you! While no one can replace Kitty, we conferences. The silent auction is the means Finally, I must note that I will be stepping welcome our new Executive Director, through which the society generates funds down as editor after the Fall issue of this Mariana Whitmer, who will begin taking on for travel support. Given that we have three year. I have enjoyed my time as editor but this responsibility 1 July 2000. (Many thanks conferences in a little over a year time span, feel that my life is moving in other to Nym Cooke who chaired the search additional support for our students will be directions. I have been very pleased with committee). Kitty will still serve as especially welcome. You may send any the changes in this publication since I began conference liaison to the Toronto contributions to Kitty Keller, designated editing the Bulletin four years ago. Most conference and Local Arrangements Chair “student travel.” Thank you. notably, the physical production of the (with Jim Hines) to the Trinidad conference As always, I want to thank the Bulletin has moved from the desk of the in May 2001. (We’re doing everything to membership, particularly the committee editor to that of a professional typesetter. keep Kitty active awhile longer!!) Mariana chairs and committee members for their Whoever will be the next editor need not brings a wealth of experience to this devoted time and energy on behalf of the have technical knowledge of desktop position. We are indeed fortunate to have Society for American Music. We have publishing, only competency with word her and I, along with the Board, look accomplished much in the past months. We processing software. The duties must begin forward to working with her. are entering a period of enormous with the Toronto Mega-conference as the We have also established a national possibilities and opportunities for growth report from this conference will be covered office! Through the efforts of Deane Root, and development. I eagerly embrace the in the Spring Bulletin. If you are interested, the office will be located at the University changes of the months ahead. I hope you or know of someone who would make a of Pittsburgh and has the appropriately do, too! good editor, please contact Anne Dhu exalted address: SAM, 1709 Cathedral of Most sincerely, McLucas, [email protected]. Learning, University of Pittsburgh, Don’t be shy about sending in your Pittsburgh, PA 15260; (412) 624-3031. Many announcements for the Members in the thanks, Deane, for pursuing this initiative News Department. As you might note, we on behalf of SAM. Soon, the SAM files will Rae Linda Brown have several dozen members who are not, be moved from Bob and Kitty Keller’s but around a thousand who are! Your home, the “national” office of the society colleagues want to know what you are for all of these years. doing. Please remember that inquiries

18 The Bulletin for the Society for American Music • Vol. XXVI, No. 1 concerning research topics and other of the Fulbright award, Saffle will hold the book edited by Jonathan Bellman: The speculative matters may be published in the Bicentennial Chair of American Studies at Exotic in Western Music (Northeastern most underused department of the Bulletin, the University of Helsinki, Finland. He will University Press. Hue and Cry. teach a general course in American culture The “Tennessean,” the Nashville daily, Each issue of the Bulletin is placed online and a graduate seminar on the topic of his newspaper published a list of “100 Years, approximately three weeks after it appears choice, American Music and Film. 100 Ideas: What Tennesseans Created or in your mailboxes. Please note that the Joseph Horowitz has recently been Made Better in the 20th Century.” As Society’s Web address has changed to named Director of Historical Projects for the described in the paper, “Our editors’ list of www.american-music.org. If you have American Symphony Orchestra League 100 things with Tennessee ties . . . that have suggestions as to how the Bulletin may be (ASOL). He will regularly write a column had or continue to have some influence in best presented in its Web configuration, for Symphony Magazine and instruct ASOL peoples’ lives.” Country music tops the list, please address them to me. Fellows in the history of the concert of course, followed by atomic energy, the The Bulletin is your voice to the world orchestra in the US and in the history of blues, Jack Daniels, etc. Director Paul Wells and the world’s window on the Society. symphonic music in performance. Horowitz proudly reports that “listed at number 67 is Don’t forget that the deadlines for Bulletin is undertaking an educational project based The Center for Popular Music! So, we’re submissions are announced on page two of on the story of Dvorák in America, for use right in there with Goo Goo Clusters, Betty this publication. Please expect a two-month by orchestras and conservatories. Page, Krystal hamburgers, and Moon Pies!” lag time between the submission deadline The Da Vinci Quartet, which includes Correction to Members in the News in and the publication date. Plan ahead so that cellist Kitty Knight, hosted a festival the previous issue: Frederick Fennell was your announcements may be published in celebrating the work of Elizabeth Sprague the founder and conductor of the Eastman a timely fashion. Coolidge, with special emphasis on her Wind Ensemble during its first decade. A. — Larry Worster American friends of the New England Clyde Roller took over until 1963-64, and Editor School in Colorado Springs and Denver in Donald Hunsberger has been its late February. They performed works by conductor ever since. The exhibit at Members in the News Loeffler, Beach, Daniels, Ives, Clarke, Eastman’s Sibley Library deals with “the Malipiero, and Bartók. The festival included Fennell years,” i.e., that first decade. Steve Ledbetter has become the roundtable discussions, two pre-concert conductor of the Providence College lectures, an exhibition of photographs, and Conferences Orchestra in Providence, Rhode Island. His a special children’s concert. Visiting 31 May-3 June, 2000: Spring concert will include a performance dignitaries included Cyrilla Barr, Ann Association for of George W. Chadwick’s waltz Schön Sears, Ellen Knight, Steven Ledbetter, Recorded Sound Collections, Chapel Hill, München (1880), a reflection of Chadwick’s and Liane Curtis. North Carolina! The conference events enthusiastic appreciation for the waltzes of McGraw-Hill has published a set of include “behind the scenes” tours of the Johann Strauss, Jr. The waltz was premiered customized ChartPlayer guides for Roger Southern Folklife Collection, a special in Boston in 1881, appeared on a Boston Kamien’s Music: An Appreciation. The exhibit of historical sound recordings, and Pops all-American concert in 1885, and was Computer-based Interactive Listening an open house of the Manuscripts possibly the unnamed “symphonic waltz” Guide software packages ChartPlayer Department, home to the Southern by Chadwick heard at the Panama-Pacific and ChartCreator by Larry Worster Historical Collection, Southern Folklife International Exposition in San Francisco in may be downloaded as shareware at Collection, and the John Rivers Sound 1915. Adrienne Fried Block’s book, Amy www.chartcreator.com. Preservation Studio. Contact information: Beach, Passionate Victorian (New York: In December 1999, The Genevans, the ARSC, P.O. Box 543, Annapolis, MD 21404- Oxford UP, 1998), has won an ASCAP award choir of Geneva College, Beaver Falls, 0543; [email protected]. in the Classical music category. Pennsylvannia, directed by Robert M. 19-23 July 2000: Dancing in the Harrison Powley, Professor of Music at Copeland, performed Dudley Buck’s Millennium. Washington Marriot Hotel, Brigham Young University and Curator of cantata “The Coming of the King.” Sondra Washington, DC. The program committee Musical Instruments in the Museum of Art Wieland Howe has recently published for Dancing in the Millennium welcomes at BYU, has been elected president of the “Education: History” and “Education: submissions on topics and in formats American Musical Instrument Society Methodologies” in the Reader’s Guide to reflecting the broad interests of those (AMIS). Carolyn Bryant and Cynthia Music: History, Criticism, Theory (Chicago: engaged in dance, dance studies, and other Adams Hoover are presently serving on Fitzroy Dearborn, 1999) and “Reconstructing dance-related activities. Submission the Board of Governors of AMIS. the History of Music Education from a deadline: 15 September 1999. For more Christopher Shultis has been granted Feminist Perspective” (Philosophy of Music information or to submit, contact Carol G. a Fulbright Guest Professorship in American Education Review 6/2). Ralph P. Locke has Marsh, Dancing in the Millennium, School Studies at the Universitat Heidelberg for the been awarded the ASCAP-Deems Taylor of Music, UNGG, POB 26167, Greensboro, 1999-2000 school year. Michael Saffle, a Award for his article “Cutthroats and Casbah NC, 27402-6167, [email protected], professor in the Center for Interdisciplinary Dancers, Muezzins and Timeless Sands: 336/334-5789. Studies (CIS) at Virginia Tech, has earned a Musical Images of the Middle East,” 10-13 August 2000: Listening to the West: distinguished lectureship for the academic published in Nineteenth-Century Music Music in the Soul of a Region Boulder, year 2000-2001, an award given by the (Summer 1998). A somewhat shorter version Colorado. This national educational Fulbright Foreign Scholarship Board. As part was published as a chapter in a collective continued on page 28

The Bulletin for the Society for American Music • Vol. XXVI, No. 1 19 BULLETIN BOARD

American Mavericks: Voices Across Time Their Time Has Come Music Library: Music Library Association, A pilot project for a new curriculum 6707 Old Dominion Drive, Suite 315, Michael Tilson Thomas and the San resource guide called “Voices Across Time,” McLean, VA 22101; Phone: 703 556-8780; Francisco Symphony have announced one created at the Center for American Music at Fax: 703 556-9301. of the boldest festivals ever presented by a the University of Pittsburgh, aims to unleash major American orchestra: American the power of music as a positive force in Student Conference Mavericks. Between 7 and 24 June, the education for all teachers, not just those in Transportation Fund symphony will present the music of Terry the music classroom. The project draws on Riley, Morton Feldman, Milton Babbitt, John the experiences and knowledge of arts The Student Conference Transportation Cage, Charles Ives, Henry Cowell, Meredith educators in order to bring viable music Fund makes it possible for students to Monk, Lukas Foss, Carl Ruggles, Ruth techniques to all teachers. This project, receive financial assistance to help defray Crawford Seeger, Charles Ives, Duke which originated with SAM, intends to make the cost of attending the national conference Ellington, George Antheil, Lou Harrison, music listening a useful skill within the of the Society for American Music. Students John Cage, David Del Tredici, Edgard standard humanities curricula, not to force receiving funds must be members of the Varèse, Steve Reich, Earle Brown, Frank it as a new curriculum in and of itself into Society and enrolled at a college or Zappa, Conlon Nancarrow, and Aaron an already overburdened course of study. university (with the exception of doctoral Copland. For tickets, call (415) 864-6000 or By inserting music into established social students who need not be formally visit the American Mavericks Website at studies, language arts, as well as music enrolled). The Fund endeavors to support www.americanmavericks.com. curricula, “Voices Across Time” seeks to as many applicants as possible at a level demonstrate music’s potential as a desirable commensurate with the available funds. Louis Armstrong, and even indispensable tool for A significant number of graduate students Aaron Copland, and accomplishing the core teaching objectives were recently granted funds to facilitate their at the heart of educational practice today, travel to the Charleston SAM meeting in the American Century and to overcome educators’ ambivalence March. Many are giving papers, others are Queens College, home of the Louis toward music. returning to be recharged, and still others Armstrong House and Archives and the are first-time attendees. Members are urged Aaron Copland School of Music, celebrated Survey of Graduate Students to give generously to the Student the centennials of two icons of American Transportation Fund in order to meet the Culture by hosting “Louis Armstrong, Aaron The National Association of Graduate- increasing demands created by an Copland, and the American Century,” a film Professional Students (NAGPS) has recently enthusiastic student constituency. Thank series, public symposium, and concert in received a grant from the Alfred P. Sloan you for your compliance with this request. February and March. Foundation to conduct a survey of doctoral For more information, see the SAM students on their graduate school Webpage and/or contact Marva Carter, Boston Public Library experiences. The survey will be completed Georgia State University, School of Music, Fellowship on the Web at http://survey.nagps.org by University Plaza, Atlanta, Georgia 30303, current and recent doctoral students from (404) 651-1724, [email protected] The Boston Public Library announced January-May 2000, and the results made the Alicia Monti Research Fellowship, publicly available on the Web on a 2001 Epstein Awards intended to stimulate the use of special department specific basis in September. music collections and manuscripts at the NAGPS represents nearly 900,000 graduate Applications for the Dena Epstein Award BPL and to contribute to research using and professional students on 150 member for Archival and Library Research in original music sources. The BPL houses the campuses and is dedicated to improving the American Music are currently being Allen A. Brown Collection rich in quality of graduate and professional student accepted for grants to be awarded for the nineteenth-century American music, the life and education by actively promoting the year 2001. The maximum value of the 2000 Walter Piston Collection, the Koussevitzky interests and welfare of graduate- and award was $2,050. A grant may be awarded Collection from the Koussevitzky Seranak professional-degree-seeking students. to support research in archives or libraries residence in the Berkshires, and the archives internationally on any aspect of American of the Pro Arte Chamber Orchestra of The Music Library Music. The deadline for receipt of Boston. The one-month fellowship carries Association Finds applications is 15 July 2000. For more a stipend and requires a brief report or information contact Joan O’Connor, presentation related to the research as part a New Home Music & Media Services Librarian, Trinity of the fellowship experience. For more The Music Library Association is pleased College - Austin Arts Center, 300 Summit information, candidates should contact Ms. to announce that it has moved its business Street, Hartford, CT 06106-3100; Diane Ota, Curator of Music at (617)536- offices to McLean, Virginia. The following [email protected]. 5400, extension 285. address is now the official “home” of the

20 The Bulletin for the Society for American Music • Vol. XXVI, No. 1 CONFERENCES OF THE SOCIETY

Toronto 2000: Musical Intersections: The concerts. Each of the fifteen societies will offer involve interdisciplinary links.Individual or Society for American Music will hold a special its own independent program. SMT and joint papers should be no longer than twenty international conference in Toronto, Canada SMPC will also hold running poster sessions. minutes. Performances should be no longer from Wednesday, 1 November to Sunday, 5 The International Alliance for Women in than thirty minutes, and may include a lecture November, in conjunction with fourteen other Music will have a permanent room for component. In addition to papers and scholarly music societies. The societies presentation of their activities and networking. performances, the Committee would like to participating in the conference are the CMS and CUMS sessions present performers encourage imaginative formats, such as American Musical Instrument Society, the and new compositions and discuss teaching panels, position papers with respondents, American Musicological Society, the and the college curriculum, in addition to workshops, mixed performance/discussion Association for Technology in Music theory, western, and non-western music. sessions, and complete sessions involving Instruction, the Canadian Association of Music The official languages of the conference particular themes or issues. Librarians, the Canadian Society for Traditional are English, French, and Spanish. There is Print submissions should include five Music, the Canadian University Music Society, plenty of room for everyone and all sessions copies of both a proposal (maximum 500 the College Music Society, the Historic Brass are open to all registrants. words) and a separate titled abstract Society, the International Association for the Topics for joint sessions chosen by the (maximum 100 words) with the proposer’s Study of Popular Music (US and Canada steering committee range from critiques of name omitted. The abstract must be suitable chapters), the Lyrica Society for Word-Music music in film and video to new constructions for publication in the conference program. Relationships, the Society for Music of the history of twentieth-century music to Five copies of the enclosed Proposal Cover Perception and Cognition, the Society for a panel on the future and future media of Sheet should include (1) contact information Ethnomusicology, and the Society for Music scholarly ‘publications’ in music. Details are (names, addresses, phone numbers, fax Theory. The conference will be held at the available at www.utoronto.ca/conf2000. At numbers, e-mail addresses, etc.), (2) proposal Sheraton Centre and Hilton hotels in the the time of this writing, all of the program format choices, (3) a list of audio-visual center of Toronto. committees are presently engaged in putting requirements, (4) category preferences, and The Society for American Music will offer together their respective programs, which will (5) the proposer’s C.V. as well as a one- a full complement of papers and panel include further joint sessions arranged paragraph prose biography. Email and fax sessions, both alone and in joint sessions with between the societies. They and the unified transmissions should also follow the same other societies. There will also be lecture- Concert Committees have also been hard at requirements as the print materials. Please demonstrations, panel discussions, lecture work to make this not only the biggest but note that if abstracts and proposals are to be recitals, and concerts. Of special interest to the most varied, exciting, inclusive, and printed using proper diacritical marks, only SAM members will be the presentation of interesting conference in the history of music print submissions will be accepted. Proposals several awards. Honorary Membership will scholarship. Arrangements for space in the for performances without a lecture need be awarded to the Toronto jazz artist Oscar Exhibit Hall can be made through Tod include the proposal cover sheet, five copies Peterson, who will be the focus of a panel Trimble, Director of Professional of the 100-word abstract, and five copies of discussion retrospective on his career. Another Development, The College Music Society, 202 an audiocassette tape recording. jazz giant, Billy Taylor, will be honored with West Spruce Street, Missoula, Montana USA Performances, it should be noted, are the Society’s Lifetime Achievement Award, 59802, or [email protected]. unremunerated. Please include two stamped, presented at a concert to be given by the Billy —Katherine Preston, Ann Sears, self-addressed envelopes in the submission Taylor Trio. Since this is a special conference, and Kate van Winkle Keller (for proposers in the USA). Interest Groups will not be meeting in Call for Paper Proposals: For complete sessions, or proposals Toronto, nor will there be a business meeting 27th SAM Conference involving unusual formats, the proposer or a banquet. in conjunction with the Center should include an additional statement The conference title, “Toronto 2000: For Black Music Research explaining the format and the rationale for Musical Intersections” describes the The Society for American Music will hold the session. Individual papers or opportunities for all registrants to visit sessions its twenty-seventh conference in Port of Spain, performances in such a session should follow of all fifteen societies and the various joint Trinidad, Memorial Day weekend, 23-27 May the guidelines for individual submissions, but sessions on topics of broad interdisciplinary 2001. Proposals for papers, sessions, and all should be included in one envelope. The interest. SAM will open the entire conference performances involving any aspect of music committee would like to encourage proposals with our usual reception on Wednesday in Canada, the United States, and the Americas from persons who did not present at the 2000 evening 1 November, and registrants who are welcome. Given the rich musical heritage meeting, but all proposals will be considered arrive as early as Wednesday afternoon can of Trinidad in many types of music, the and judged on merit. All materials should be be first to take advantage of the computer lab program committee would like to encourage postmarked on or before 10 September set up by the Association for Technology in in particular papers, programs, or 2000, and should be sent to Johann Buis, Music Instruction. ATMI will also offer sessions presentations relating to the music of Trinidad CBMR, Columbia College Chicago, 600 S. on computer instruction and computer-music and the Caribbean as well as those that Michigan Av., Chicago, IL 60605-1996.

The Bulletin for the Society for American Music • Vol. XXVI, No. 1 21 INDEX TO VOLUME XXV (1999)

Amy C. Beal, Indexer

Indexer’s Note: Personal names are identified as author or composer (a), compiler (c), Frederik Schuetze, 3:87; Benjamin Sears, 2:59; editor (e), performer (p), reviewer (r), translator (t), or subject (s); recordings and videos Christopher Shultis, 2:59; Elizabeth Reed are differentiated by the abbreviations (rec) or (vid); numbers refer to issue Smith, 2:58; Stephen Stone, 3:86; Michael Number:Page(s). The editor welcomes criticisms and suggestions for future indexes. Sumbera, 1:28; Judith Tick, 1:28; Barbara Tischler, 1:28. Part I. General Folsom, Rebecca L., a. “Give the World a Smile: Musical Theater, s 3:69-72; 3:72-73. A Professional Gospel Quartet of All-Stars, Music and Gender, s 2:40-41, 47. “A Change in Name, Not in Mission,” (Worster, 1927-1932,” 3:74-75, 80. News of the Society. 1:19-21; 2:53-56; 3:83-84. a) 2:33-34. “From Albion to Albany: On the Tracks of Norris, Renee Lapp, a. “Two Parodies of French Ahlquist, Karen, a. “Questions and Models in Gottschalk in the Hudson Valley,” (Falconer- Opera Performed by Blackface Minstrels,” 1:9- Musical Theater History,” 3:69-72. Salkeld, a) 11. 3:76, 81. “Alan Clark Buechner, 16 April 1926-10 Obituaries. Alan Clark Buechner, 1:12-13; Steven December 1998,” 1:12-13. “Gender and Music Composition: A Personal Edward Gilbert, 2:47; Everett B. Helm, 3:81; W. “American Music Week in the Bluegrass” Perspective,” (McTee, a) 2:40-41, 47. Thomas Marrocco, 1:13; Robert Shaw, 1:13. (Stauffer, a) 1:17. “George Frederick Bristow: Incidental “Organizing Orpheus: Protecting the American American Orchestral Musicians, s 1:1-5. Gleanings,” (Gohari, a) 2:37-39. Orchestral Musician, 1890-1910,” (Schmaltz, a) Anderson, Martin, a. “A Eulogy for Steven Gibson, Joice Waterhouse, c. “Index to Volume 1:1-5. Edward Gilbert,” 2:47. XXIV (1998),” 1:14-15, 31; “Some Recent “Oscar Sonneck and Recent Developments in Articles and Reviews,” 3:92-95. “A Reply from Karen Ahlquist,” 3:73. the Study of American Music,” (Buechner, a) Gilbert, Steven Edward, s 2:47. 3:77-81. Beal, Amy, a. “Obituary: Dr. Everett B. Helm,” 3:81. “Give the World a Smile: A Professional Gospel Owen, Heidi, a. “The Fifth Gateways Music Quartet of All-Stars, 1927-1932,” (Folsom, a) Festival,” 3:78. Bernstein, Leonard, s 1:1, 5-8. 3:74-75, 80. Pollack, Howard, a. “The Chávez-Revueltas Blackface Minstrels, s 1:9-11. Gohari, Carol Elaine (Smith), a. “George Colloquium: A Report from Mexico,” 3:78-79. Block, Adrienne Fried, a. “Reclaiming the Past: Frederick Bristow: Incidental Gleanings,” 2:37- “Power and Paradox in Musical Theater History,” Musical Boston a Century Ago,” 2:51-52. 39. (Cockrell, a) 3:72-73. Boston, s 2:51-52. Gospel Quartet, s 3:74-75, 80. “Questions and Models in Musical Theater Bristow, George Frederick, s 2:37-39. Helm, Everett B., s 3:81. History,” (Ahlquist, a) 3:69-72. Buechner, Alan Clark, s 1:12-13; a “Oscar “Index to Volume XXIV (1998),” (Gibson, c) “Rebecca Clarke Conference and Concert,” Sonneck and Recent Developments in the 1:14-15, 31. (Curtis, a) 3:79-80. Study of American Music,” 3:77, 81. Kearns, William, c. “Some Recent Articles and “Reclaiming the Past: Musical Boston a Century Bulletin Board. 1:21-23; 2:57-58; 3:85-87. Reviews,” 1:29-31; 2:65-67. Ago,” (Block, a) 2:51-52. Chávez, Carlos, s 3:78-79. Laird, Paul, a. “Leonard Bernstein: Eclecticism Report from the Conference. “Van Cliburn “The Chávez-Revueltas Colloquium: A Report and Vernacular Elements in Chichester Named Honorary Member for 1999,” 2:42; from Mexico” (Pollack, a) 3:78-79. Psalms,” 1:1, 5-8. “Van Cliburn’s Response,” 2:24; “Irving Clarke, Rebecca, s 3:79-80. Lakota Drumming, s 2:33-36, 38. Lowens Book Award,” 2:42-43; “Lowens Article Award,” 2:43; “Publications Cockrell, Dale, a. “Power and Paradox in “Leonard Bernstein: Eclecticism and Vernacular Subventions,” 2:43; “Non-Print Subventions,” Musical Theater History,” 3:72-73. Elements in Chichester Psalms,” (Laird, a) 1:1, 2:43; “Horatio Parker’s Hora Novissima,” 2:43; 5-8. Communications. “To the Editor” (Smith, a) 1:16; “A Centennial Concert for Ellington,” 2:43-44; “Letter From the Editor” (Worster, a) 1:16; Marrocco, W. Thomas, s 1:13. “Interest Group Council,” 2:44; “Popular “Letter from England” (Banfield, a) 1:18; McTee, Cindy, a. “Gender and Music Music,” 2:44; “Twentieth Century Interest “Letter to the Editor” (DeLio, a) 2:48; Composition: A Personal Perspective,” 2:40-41, Group,” 2:44-45; “Musical Theater,” 2:45; “Response” (Beal, a) 2:48; “Letter from the 47. “Biography,” 2:45; “Folk/Traditional Music,” 2:45; “Gospel and Church Music,” 2:45-46; Editor” (Worster, a) 2:48; “Letter from Britain” Members in the News. Karen Ahlquist, 3:86; (Dickinson, a) 2:48-49; “Letter from Canada” “American Music in American Schools and Carol Baron, 3:86; John Beckwith, 1:28; Colleges, Voices Across Time,” 2:46; “A (Morey, a) 2:49-50; “Letter from Hong Kong” Leonard Brown, 1:28; Dale Cockrell, 1:28; (Thompson, a) 2:50-51; “Letter From Britain” Student’s Experiences at the Fort Worth Bradford Conner, 2:59; Susan Cook, 1:28; Meeting,” 2:46. (Nicholls, a) 3:82; “Letter from the President” David Peter Coppen, 3:86; Mary Jane Corry, (Brown, a) 3:83; “Letter from the Editor” 3:86; Elizabeth Bergman Crist, 2:59; Mary Revueltas, Silvestre, s 3:78-79. (Worster, a) 3:83. Wallace Davidson, 3:86; Scott DeVeaux, 1:28; Ritter, Jonathan, a. “The Drum as Icon and Corrections, 3:73. Arno Drucker, 3:87; Mary DuPree, 1:28; Harry Teacher in D/Lakota Life,” 2:22-36, 28. Curtis, Liane, a. “Rebecca Clarke Conference and Eskew, 3:87; Jim Farrington, 3:86; Frederick “Robert Shaw—1916-1999,” 1:13. Concert,” 3:79-80. Fennell, 3:86; George J. Ferencz, 1:28, 3:86; Sam Floyd, 2:59; John Graziano, 2:59; Harry Schmaltz, Robert, a. “Organizing Orpheus: “The Drum as Icon and Teacher in D/Lakota Hewitt, 1:28; William K. Kearns, 2:59; Elaine Protecting the American Orchestral Musician, Life,” (Ritter, a) 2:33-36, 38. Keillor, 1:28; Kate Van Winkle Keller, 3:87; 1890-1910,” “A Eulogy for Steven Edward Gilbert,” John Koegel, 1:28; Leonard Lehrman, 1:28, 1:1-5. (Anderson, a) 2:47. 2:59; Ralph Locke, 2:59, 3:86; Elizabeth Shaw, Robert, s 1:13. Falconer-Salkeld, Bridget, a. “From Albion to Ludwig-Fennell, 3:86; Alan Mandel, 1:28; “Some Recent Articles and Reviews,” (Kearns, c) Albany: On the Tracks of Gottschalk in the Portia K. Maultsby, 1:28; Anne Dhu McLucas, 1:29-31; 2:65-67; (Gibson, c) 3:92-95. Hudson Valley,” 3:76, 81. 3:86; Michael Meckna, 1:28, 2:59; David Music, Sonneck, Oscar, s 3:77, 81. “The Fifth Gateways Music Festival,” (Owen, a) 3:87; David Nicholls, 3:87; June C. Ottenberg, 3:78. 2:59; Leslie Petteys, 2:58; Susan Porter, 2:59;

22 The Bulletin for the Society for American Music • Vol. XXVI, No. 1 Stauffer, Kristen K., a. “American Music Week in Davis, Peter G, a. The American Opera Singer: Ohl, Vicki, r 3:87-88. the Bluegrass,” 1:17. The Lives and Adventures of America’s Great Parker, Horatio, s 2:62, 59. “Toronto 2000: Musical Intersections,” 2:60-61. Singers in Opera and Concert From 1825 to the Present (Stauffer, r) 1:24. Partch, Harry, s 3:88. “True American Miscellany,” (Worster, a) 1:27. Dugaw, Dianne, e. The Anglo-American Ballad: Partch, Harry. Delusion of the Fury: A Ritual of “Two Parodies of French Opera Performed by A Folklore Casebook (Martin, r), 3:91. Dream and Delusion, vid (Kassel, r) 3:88. Blackface Minstrels,” (Norris, a) 1:9-11. Eiland, Dianna, r 3:90-91. Partch, Harry: Four Historic Art Films by Worster, Larry, a. “True American Miscellany,” Madeline Tourtelot with Music by Harry 1:27; “A Change in Name, Not in Mission,” Electro-Acoustic Composition, s 2:62. Partch, vid (Kassel, r) 3:88. 2:33-34. Extensions: A Retrospective of Electro-Acoustic The Piano Concertos, rec (Cage, a, Goldstein, r) “W. Thomas Marrocco—1909-1999,” 1:13. Compositions, rec (Korte, p; Fruehwald, r) 1:26. 2:62. nd Piano Music Vol. I and II, rec (Barbagallo, p; Part II. Reviews Folk Songs of the Southern Appalachians, 2 ed. Krasner, r) 2:62, 59. (Martin, r) 1:25. Aaron Copland: The Life and Work of an The Piano Works, rec (Cage, a, Goldstein, r) Forte, Allen, a. The American Popular Ballad of 1:26. Uncommon Man (Pollack, a; Lindsey, r) 3:89. the Golden Era, 1924-1950 (Pisani, r) 2:63-64. Pisani, Michael V., r 2:63-64. African-American Spirituals, s 1:31. Fruehwald, Robert, r 2:62. Alexander Reinagle: The Philadelphia Sonatas Polk, Joanne, p. Amy Beach: Under the Stars, George Gershwin (Greenberg, a; Carnovale, r) 3:87. and Two Scottish Variations, rec (Sears, r) 2:64. 1:26-27. Pollack, Howard, a. Aaron Copland: The Life Gershwin, George, s 2:64. American Classical Music, s 3:89-90. and Work of an Uncommon Man (Lindsey, r) Give the Ballot to the Mothers: Songs of the 3:89. American Opera, s 1:24. Suffragists. A History in Song (Wolff, a; Rehrig, William H., a. The Heritage Encyclopedia The American Opera Singer: The Lives and Bowers, r) 3:90. of Band Music: Volume 3 (Supplement), Adventures of America’s Great Singers in Goldstein, Louis, r 1:26. (Bryant, r) 1:25. Opera and Concert From 1825 to the Present (Davis, a, Stauffer, r) 1:24. Graziano, John, e. Chamber Music for Strings Reinagle, Alexander, s 1:26-27. (Hommann, a; Baron, r) 2:64, 59. The American Popular Ballad of the Golden Era, Reviews of Books (Martin, e) 1:24-25, 31; 2:63- 1924-1950 (Forte, a; Pisani, r) 2:63-64. Greenberg, Rodney, a. George Gershwin 64, 59; 3:89-91. (Carnovale, r) 2:64. American Reverie: Piano Music of Horatio Reviews of Recorded Materials (Krasner, e) Parker, rec (Kairoff, p; Krasner, r) 2:62, 59. Grierson, Benjamin H., s 3:90-91. 1:26-27; 2:62, 59; 3:87-88. Amy Beach: Canticle of the Sun, rec (Krasner, r) Harburg, E.Y., s 3:87-88. Reynolds, William J., s 2:63. 3:87. Harrison, Lou, s 2:64, 59. Rush, Steven s 2:62. Amy Beach: Under the Stars, rec (Polk, p; The Heritage Encyclopedia of Band Music: Sears, Ann, r 1:26-27. Krasner, r) 3:87. Volume 3 (Supplement), (Rehrig, a, Bryant, r) Sears, Benjamin, p 3:87-88. 1:25. The Anglo-American Ballad: A Folklore Selected Keyboard and Chamber Music, 1937- Casebook (Dugaw, e; Martin, r) 3:91. The History of American Classical Music: 1994 (Harrison, a; Miller, e; Baron, r) 2:64, 59. Appalachian Dulcimer Traditions (Smith, a; MacDowell Through Minimalism (Struble, a; McCrickard, r) 3:89-90. Smith, Ralph Lee, a. Appalachian Dulcimer Notes in Passing) 1:25, 31. Traditions (Martin, r) 1:25, 31. Hommann, Charles, s 2:64, 59. Band Music, s 1:25; 3:90. Stauffer, Kristen K., r 1:24. Band Music From the Benjamin H. Grierson Interlochen: A Home for the Arts (Boal, a; Martin, r) 3:91. Struble, John Warthen, a. The History of Collection (Wagner, e; Eiland, r) 3:90-91. American Classical Music: MacDowell Barbagallo, James, p 2:62, 59. Kairoff, Peter, p 2:62, 59. Through Minimalism (McCrickard, r) 3:89-90. Baron, John H., r 2:64, 59. Kassel, Richard, r 3:88. Suffragist Songs, s 3:90. Beach, Amy, s 3:87. Korte, Karl, p. Extensions: A Retrospective of Swenson-Eldridge, Joanne, e. Chamber Music for Electro-Acoustic Compositions,” (Fruehwald, Strings (Hommann, a; Baron, r) 2:64, 59. Bernstein, Leonard, s 1:24-25. r) 2:62. Tape Music, s 2:62. Berrett, Joshua, r 1:24-25. Krasner, Orly Leah, r 3:87; e “Reviews of Beyond the Rainbow: Lyrics by E.Y. Harburg, rec Recorded Materials,” 1:26-27; 2:62, 59; 3:87-88. Trice, Patricia Johnson, a. Choral Arrangements (Sears, p, Conner, p; Ohl, r) 3:87-88. of the African-American Spirituals: Historical Leonard Bernstein (Myers, a, Berrett, r) 1:24-25. Overview and Annotated Listings (Martin, r) Boal, Dean, a. Interlochen: A Home for the Arts Lindsey, Roberta, r 3:89. 1:31. (Martin, r) 3:91. Martin, Sherrill V., r 1:25; 31; 3:91; e, “Reviews of Video Reviews (Kassel, r) 3:88. Bowers, Jane, r 3:90. Books,” 1:24-25, 31; 2:63-64, 59; 3:89-91. Wagner, Lavern J., e. Band Music From the Brün, Herbert, a. Wayfaring Sounds: McCrickard, Eleanor F., r 3:89-90. Benjamin H. Grierson Collection (Eiland, r) Compositions for Instruments and Tape, rec 3:90-91. (Fruehwald, r) 2:62. Miller, Leta E., e. Selected Keyboard and Chamber Music, 1937-1994 (Harrison, a; Wayfaring Sounds: Composition for Instruments Bryant, Carolyn, r 1:25. Baron, r) and Tape, rec (Brün, a; Fruehwald, r) 2:62. Cage, John, a. The Piano Concertos, rec 2:64, 59. We’ll Shout and Sing Hosanna: Essays on Church (Goldstein, r) 1:26; The Piano Works, rec Music, David W, e. We’ll Shout and Sing Music in Honor of William J. Reynolds (Goldstein, r) 1:26. Hosanna: Essays on Church Music in Honor of (Music, e; Norton, r) 2:63. Carnovale, Norbert, r 2:64. William J. Reynolds (Norton, r) 2:63. Wolff, Francie, a. Give the Ballot to the Mothers: Chamber Music for Strings (Hommann, a; The Music of Steven Rush, rec (Fruehwald, r) Songs of the Suffragists. A History in Song Graziano and Swenson-Eldridge, e; Baron, r) 2:62. (Bowers, r) 3:90. 2:64, 59. Myers, Paul, a. Leonard Bernstein (Berrett, r) Women in Electronic Music, s 2:62. Choral Arrangements of the African-American 1:24-25. Spirituals: Historical Overview and Annotated New Music For Electronic and Recorded Media: Listings (Trice, a, Martin, r) 1:31. Women in Electronic Music—1977, rec Conner, Bradford, p 3:87-88. (Fruehwald, r) 2:62. Copland, Aaron, s 3:89. Norton, Kay, r 2:63.

The Bulletin for the Society for American Music • Vol. XXVI, No. 1 23 REVIEWS OF RECORDED MATERIALS

Edited by Orly Leah Krasner, City College, CUNY NEW YORK PHILHARMONIC: AN Varèse in a rather tatty Bernstein broadcast No. 2 and the Serenade for Flute, Harp, and AMERICAN CELEBRATION, Vols. 1 & 2. from 1966. In this rendition, the piece sounds Strings, a nice piece done here by Leopold 46 live performances (1936-99), 39 not only vulgar but also quite dated, redolent Stokowski with flutist John Wummer. We composers, 21 conductors. New York of art deco furniture and other period pieces. hear the Roy Harris Third Symphony, one of Philharmonic, NYP 9904, 1999. Ten compact Another European immigrant of the same his strongest works, in a good Bernstein discs. generation, Ernest Bloch, is better served; performance from 1957. Henry Cowell’s his Concerto Grosso No. 1 for strings and lovely Hymn and Fuguing Tune No. 2 gets The New York Philharmonic’s An piano is given a good workout (1948) by a fine reading from Paul Paray (1956). There American Celebration is a lavish and Charles Munch with Walter Hendl at the is also an abridged version of Acts III and IV attractive product that has been welcomed keyboard. There are a few scrappy of Virgil Thomson’s Four Saints in Three Acts. with both praise and derision. Some critics moments, particularly in the strings in the Bernstein’s tempi are unfortunately brisk in have suggested that America’s concert music final Fugue, but this only contributes to the this 1960 performance with a cast ably led would not require such a showcase if it sense of excitement in a vibrant rendition of by Betty Allen and McHenry Boatwright. could stand on its own merits. In fact, there this great piece. Moving forward about a half generation, is much to like in this massive ten-CD Aaron Copland’s spirit presides over this Paul Creston’s Symphony No. 2 is a fine well- package, but one has to pick through a good entire project. The works range from his crafted work, ably led here by Pierre deal of base metal in search of the gold. delightful 1925 Music for the Theatre, through Monteux (1956). Elliott Carter’s strong This set, organized in a roughly the Americanist classics of his middle period, Concerto for Orchestra finds a fitting chronological progression, will not change to some later works. Erich Leinsdorf is advocate in Pierre Boulez (1975). William any minds about the trajectory of American wonderful in Music for the Theatre, Schuman’s Symphony No. 6 is another well- concert music. After a long, slow start, things enhancing the jazziness of the piece through made piece, exhibiting plenty of variety and pick up notably in the early decades of the canny understatement in this 1985 showcased nicely by Bernstein (1958). twentieth century. The earliest works, found performance. Appalachian Spring is here in Samuel Barber is heard to advantage in two on discs one and two, are decent pieces but its world premiere performance by Artur works. His Essay No. 1 is a beautiful piece derivative, reminding us why able Rodzinski (1945). There are uncertain and an elegant, cerebral musical experience, composers like George Whitefield moments in the ensemble and a few slips in attended to here by George Szell with his Chadwick, Charles Tomlinson Griffes, the woodwinds, but it is a nice reminder that usual mastery of detail (1950). Medea’s Charles Loeffler, and the obscure Ernest this war horse was once new. El Salón Meditation and Dance of Vengeance is Schelling (1876-1939) never took the world México gets a great 1955 reading from Guido harrowing in a 1956 Dmitri Mitropoulos by storm. Edward MacDowell’s Suite No. 2 Cantelli, full of energy and fire. broadcast. To Vishnu by Alan Hovhaness is in E Minor (“Indian”) shows why he is still The Lincoln Portrait sounds uncommonly a letdown for this listener, who generally regarded as our leading composer of fresh and vital in a fervent 1976 London likes his music. “classical” music before Charles Ives. The performance led by Bernstein and narrated Moving ahead by birth-date a few years first two movements of the suite sound fine by William Warfield. Lincoln’s thoughts on more, we have works by three composers in a 1958 Bernstein broadcast, although the equality of opportunity are as subversive in born in the teens, and they all leave strong third part, depicting a festival, has that our present gilded age as they’ve ever been. impressions. Leonard Bernstein’s Candide unwelcome scampering sound that defaces Prairie Journal, a fine, little-known score Overture is fervently played by the so much of the Indianist repertoire. from 1937, is well played under Zubin Mehta Philharmonic musicians without conductor As if to confirm the most shopworn (1985). Fanfare for the Common Man in a 1992 tribute. His Serenade for Violin, clichés about the progress of American receives an appropriately pompous run- String Orchestra, Harp, and Percussion is a music, everything changes radically with the through from Kurt Masur (1997), and there magnificent work, heard in a fine Leonard arrival of Charles Ives. Three Places in New are decent readings of the later Nonet for Slatkin performance with concertmaster England gets a solid Germanic reading in a Strings (1960) in a 1964 William Steinberg Glenn Dicterow truly brilliant in the solo May 1994 Kurt Masur performance. If you version, and the Orchestral Variations led part. David Diamond’s The World of Paul like trombones and tubas, Masur is your by Bernstein (1958). The latter is not a bad Klee, in a Seymour Lipkin performance from man. He confirms this on disc three in piece, although the original solo piano 1960, is another high point of the set— another 1994 performance, Sun-treader by version remains more effective. beautifully orchestrated and absolutely Carl Ruggles. The very large orchestra for Copland’s generation of Americans was original. On a less lofty plane, we have this mountain of musical granite includes a talented coterie, and a few of its members Morton Gould’s Dance Variations two tubas, and Masur makes both the are represented here. Walter Piston is (Mitropoulos with duo-pianists Whittemore Ruggles and parts of the Ives sound as if they missing. William Grant Still might as well be, and Lowe, 1953), a fun, eclectic potpourri. were written for large concert band with a since his Old California is a trifle, and its cute The group born in the twenties includes string section attached. Indians harken back to the worst moments Lukas Foss, Peter Mennin, Ned Rorem, Of the other early-twentieth-century of the MacDowell. Howard Hanson is Gunther Schuller, Jacob Druckman, and modernists, we hear Intégrales by Edgard represented twice, with his trite Symphony George Crumb. Foss takes the cake here,

24 The Bulletin for the Society for American Music • Vol. XXVI, No. 1 with his witty mini-opera Introductions and to come from the ranks of “serious” postwar This is a deluxe set, as one would hope Good Byes, to a libretto by Gian Carlo music. Among those not represented are from a product costing $185. The two Menotti. Baritone John Reardon and Maestro Roger Sessions and Milton Babbitt. This is a program booklets are lavishly illustrated and Bernstein are our hosts for this wickedly commercial product, after all, and it has been filled with solid information, most of it clever party. Mennin’s Concertato (Moby compiled with an eye toward attracting delivered in a sensible way by historians, Dick) has some good passages but makes a ordinary customers, not just libraries and critics, and sometimes the composers mixed impression in a 1963 Bernstein academics. This may also account for the themselves. There are numerous wonderful broadcast. So does Rorem’s highly uneven familiarity of much of the repertoire and photos; many of them, and the interviews Symphony No. 3 (Bernstein, 1959). Schuller’s something like a seniority system as well; enclosed, are quite recent as well as being Dramatic Overture is beautifully written and there are only two composers born after well chosen. All in all it is a fine celebration highly accessible for a twelve-tone piece, 1940. This in a country with a great many of the New York Philharmonic’s relations especially in this great 1957 Mitropoulos fine composers born since 1950! with American composers. It might also have performance. Druckman’s Lamia and Finally, there are three crossover works, been better if less “representative,” more Crumb’s Star-Child both derive much of their one each by Duke Ellington, George selective. I can think of six or eight pieces portentous power from extreme Gershwin, and Bernard Herrmann. here that I would gladly give up to have one instrumental effects, with some amazing Ellington’s 1950 Tone Parallel of Harlem, more each by Ives, Cowell, Gershwin, apocalyptic percussion in the latter. arranged by Wynton Marsalis and played by Barber, Herrmann, and Bolcom. Bravo to The last generation to get its hour and a the Lincoln Center Jazz Orchestra under these masters, to Copland, Carter, Diamond, half in the sun is the one born around 1935- Masur, leaves a mixed impression of this Foss, and to the many fine musicians heard 40, with four composers represented by full- consummate jazz musician. Its slow middle on these discs. length works. Steve Reich’s Tehillim is section is wonderful (and very beautifully —Elliott Hurwitt thought a masterpiece by some, but I find it done here), but the concluding section of City University of New York tiresome, another exercise in mystical this piece is awful. Like much of the later orientalism. The hooty sopranos and big-band repertoire, it slouches toward Las FI-YER!: A CENTURY OF AFRICAN- repetitious ostinati are a nuisance after a few Vegas. Ellington lost the contest in this style AMERICAN SONG. William Brown, tenor; minutes. On the other hand, William to his competitor Count Basie, whose more Ann Sears, piano. Albany Records, Troy 329, Bolcom’s Concerto for Clarinet and thoroughly bluesy approach could better 1999. One compact disc. Orchestra is a delightful piece, wonderfully withstand a certain sleaziness. The William Brown’s premiere performances played here by Stanley Drucker with conclusion of Harlem is nothing but schlock, and recordings over the last three decades Leonard Slatkin conducting. Everything up a sort of self-important striptease music. have become a lightening rod for new works to and including the kitchen sink turns up (Copland’s striptease music, the conclusion by black composers. Fi-Yer! pursues a in this piece—Baroque music, Broadway, of the “Burlesque” from Music for the different course, restoring life to landmarks Bernstein, jazz, circus music, Hollywood— Theatre, is far more fun.) from the late-nineteenth and early-twentieth somehow Bolcom turns it all into one piece, Gershwin’s An American in Paris is here century. This expansive yet focused and a good one. Joan Tower’s Sequoia, as in an astringent reading, filled with treatment of the development of black song led by Zubin Mehta in 1982, makes a strong excitement but a little too rangy. The as an art form includes early parlor and impression; incredibly, she describes this as grunting of conductor Artur Rodzinski as he plantation songs, turn-of-the-century racial her first orchestral score. Symphony No. 3 cues the players adds to the fun in this 1944 humor, as well as art songs and spirituals by by Ellen Taafe Zwilich is also highly broadcast. We also have the suite from modernist composers. competent, but has a second-hand quality. Herrmann’s score for the film The Devil and Although the selections in this well- Are these really the only good pieces by Daniel Webster in a dazzling 1949 broadcast chosen compendium are ordered female composers the New York led by Leopold Stokowski. Both piece and stylistically, Ann Sears’s engaging and Philharmonic could find during the last performance raise the listener to new heights thorough notes treat the material century? Where are Amy Beach, Ruth of enjoyment, and this item threatens to chronologically, placing greater emphasis Crawford Seeger, Vivian Fine? capsize the project altogether. Inevitably, the on those composers and works that are Two pieces represent the baby boomer listener wants more Herrmann, and less of earliest and least known. These include generation, Short Ride in a Fast Machine by the works of his “classical” contemporaries. “That Welcome Day” by Thomas Greene John Adams and Christopher Rouse’s Names like Newman, Rozsa, and Waxman Bethune and “Whar Shill We Go When de Trombone Concerto. The Adams is fun, and also suddenly come to mind, raising Great Day Comes” by John William Boone. is rapidly becoming a popular light concert troubling questions about whether or not an If Sears is right that the power of the former piece. The Rouse is competently written but entire disc here should have been devoted “lies in its simplicity,” then the attraction of forgettable, if well played here by Joseph to the Hollywood set. Consider, too, the the latter is its complexity. The putatively Alessi with Slatkin on the podium (1992). “encore” offering: a wild and wooly Arturo religious text of this plantation song is laden The best passages are all in the slow final Toscanini romp through Sousa’s Stars and with the self-conscious dialect that typified movement. These are not the finest pieces Stripes Forever. Taped in Madison Square white and black minstrelsy in the late- by the under-60 set, and they leave one Garden in 1944, this performance brims over nineteenth century. A still heavier dose of sensing a falling off in talent over the with musical energy as well as patriotic dated racial humor is heard in Will Marian generations. fervor. An entire world of light classical music Cook’s show-stopping character song, “An Inevitably, many significant American beckons just offstage. Explanation.” One only hopes that Brown composers are missing here, and they tend continued on page 26

The Bulletin for the Society for American Music • Vol. XXVI, No. 1 25 “Reviews of Recorded Materials” continued from page 25 Sonneck Awards Rorem’s taste in literature is impeccable or someone comparable will afford us still and wide ranging. To create a “libretto,” he Lowens Memorial Book more insight into this gifted and greatly shaped texts—both poetry and prose—from and Article Awards under-rated composer. the works of twenty-four authors into a three- The Lowens Memorial Book and Article Awards are prizes for books and articles Although the use of Black English was section life cycle called Beginnings, Middles, published in the previous calendar year. The central to nineteenth-century musical and Ends. The first two are punctuated by Committees would be immensely grateful for stereotypes, the spoken impetus of both selections from the early-eighteenth-century nominations and self-nominations for articles, dialect and standard English is, in far more hymnodist Thomas Ken, “Hymn for essays in anthologies, or books. Chairs for 1999 personal ways, no less important to the Morning,” and “Hymn for Evening.” Both Publications (awards to be conferred in 2001): Book: N. Lee Orr, [email protected]; modern tradition of black art song. This receive similar treatment; the verses are sung Article: Kim H. Kowalke, 207 Todd, University begins with Cook and encompasses a cappella in a four-part homophonic texture of Rochester, Rochester, NY 14620. romantic treatments like “Night” by Florence while the piano plays meditatively before [email protected] Price and William Grant Still’s “The Breath and after the verses. But Rorem is far from The Dissertation Prize of a Rose,” as well as modern songs like John slavish to any sense of historical aptness in The Society for American Music Work’s “Soliloquy,” and “Three Dream these settings. One can certainly find musical Dissertation Prize is designed to recognize a Portraits” by Margaret Bonds. pictorialisms of the more obvious kind, such single dissertation on American music for its exceptional depth, clarity, significance, and Two offerings each from Harry T. as a reference to a robin in W. H. Auden’s overall contribution. American music is Burleigh, R. Nathaniel Dett, and Hall “Their Lonely Betters” that coincides with interpreted in all its historical and Johnson—the earliest composers of art songs bird-like warbling in the accompaniment. contemporary styles and contexts, including, and concert spirituals—portray contrasting The technical brilliance of the piano writing but not limited to art and popular musics, the periods in the work of each composer. Dett’s beneath a tightly contrapuntal vocal duet musics of ethnic groups and minorities, and the full range of musical activities. “America” is poignant “I’m A-Travelin’ to the Grave” captures words like “blaze,” “gleam,” and understood here to embrace all of North (1943) and Johnson’s setting of the Langston “aglow” that characterize Paul Goodman’s America, including Central America and the Hughes text “Fi-Yer!” (1970) were both “His Beauty Sparkles.” In general, Rorem’s Caribbean, and aspects of its cultures written in the year of their composer’s death. evocations are less literal. Part Two opens elsewhere in the world. The genius of these fresh performances with “I Saw a Mass,” a prose text from the The period of eligibility for the Prize is for doctoral dissertations successfully defended is a combination of the daring and eighteenth-century Journal of John during the previous calendar year. Applicants imaginative with the careful and calculated. Woolman; the piano introduction is need not be members of the Society. Brown has found a great foil here in the particularly suggestive of the “dull gloomy Candidates should send three copies of the finesse and clarity of Sears’s piano color” of a mass of human beings. The irony following, postmarked no later than February 28: title page and abstract; table of contents, accompaniments, which are no less assertive of Langston Hughes’s “Comment on War” and one sample chapter. One of the three and confident than the principal voice. receives even subtler handling. One of the copies may be on a floppy disk in IBM format, Brown’s stylized range of vocal moves most consonantly “melodic” numbers in this using WP5.1 or Word 6. Send your submission, includes scoops, slides, blue notes, and a cycle, a duet for soprano and mezzo- with a cover letter, to Catherine Parsons Smith, whole palette of timbral shadings—a soprano, its lilting rhythms in a regular duple Chair, Dissertation Prize Committee, Department of Music 226, University of beguilingly whole mosaic of gestures. meter suggest an innocence that makes the Nevada, Reno, Reno, NV 89557-0049; 775 784- Because he has adapted his formidable vocal text all the more harrowing. 6145, [email protected]. technique to the rhetorical demands of the Rorem’s utter control over his material on Non-Print Publications culture, Fi-Yer! elucidates the expressive every level makes itself felt from the opening Subvention Awards interrelations between field, street, and solo ascending ninth asking, “From Whence The annual deadline for applications for concert hall in African-American heritage. Cometh Song?” (Theodore Roethke) to the the Sonneck Society Non-Print Publications —William T. Dargan plaintive closing of an excerpt from the Subvention Award is 1 December. For St. Augustine’s College Quaker writings of William Penn, “Evidence information contact Mary Jane Corry, 8 Joalyn Road, New Paltz, New York, 12561; of Things Not Seen.” He links appropriate [email protected]. NED ROREM: EVIDENCE OF THINGS numbers together with seamless piano Publication Subvention Awards NOT SEEN. The New York Festival of Song; transitions, shifting from recitatives to arias Maximum award: $2,500. Applications may Monique McDonald, soprano; Delores and ensembles. His juxtapositions of musical be made at any time, but applicants should Ziegler, mezzo-soprano; Rufus Müller, tenor; choices and textual ones force the listener to anticipate a long waiting period. Applications Kurt Ollmann, baritone; Michael Barrett, experience both word and sound in new should be received by 15 November and Steven Blier, pianists. New World Records ways. Four lines from a sonnet by Edna St. include the following: publication plans. (Note: A publisher must have agreed to print the 80575-2, 1999. Two compact discs. Vincent Millay, “Love cannot fill the thickened work); detailed financial statement, including Evidence of Things Not Seen, a concert- lung with breath,” resonate differently against publication costs showing format and print length cycle of thirty-six songs for four singers a subtext of AIDS and homosexuality. Rorem run; specific request amount; and statement of and piano, was commissioned by The New commands a seemingly infinite variety of impact of subvention on the price; brief York Festival of Song and the Library of textures within his limited ensemble. The curriculum vita; outline and table of contents of proposed publication; sample chapter. Six Congress to honor Ned Rorem on his result is a dramatic chamber work with the copies of the application should be sent to: seventy-fifth birthday. This recording was emotional power of opera at its most awe- Lenore Coral, Music Library, Lincoln Hall, made at the work’s second performance, at inspiring. Cornell University, Ithaca, NY 14853-4101; the Library of Congress, in April 1998. —Orly Leah Krasner [email protected]. City College, CUNY

26 The Bulletin for the Society for American Music • Vol. XXVI, No. 1 REVIEWS OF BOOKS

Edited by Sherrill V. Martin, University of North Carolina at Wilmington SINGING IN ENGLISH: A MANUAL OF AMERICAN SINGING SOCIETIES AND Glee Club, one of three clubs highlighted, ENGLISH DICTION FOR SINGERS AND THEIR PARTSONGS: TEN PROMINENT was unusual in that it provided a mix of CHORAL DIRECTORS. By Richard Cox. AMERICAN COMPOSERS OF THE professional and amateur musicians, and Lawton, Oklahoma: American Choral Directors GENRE (1860-1940) AND THE SEMINAL presented all-American programs along with Association, 1990. Pp. 109. SINGING SOCIETIES THAT PERFORMED contests to produce new repertoire. Finally, Richard Cox is extremely successful in his THE REPERTORY. By William Osborne. the author surveys two Women’s Singing effort to provide a manual that supplements Lawton, Oklahoma: American Choral Societies, most notably The Saint Cecilia Club, the more detailed books on English diction by Directors Association, 1994. Pp. 112. which is responsible for having developed such authors as Madeline Marshall and While a study of partsongs might not be most of the partsong repertoire for female Dorothy Uris. This guide fills the gap between on the top of every reader’s list, author singers. In a review of the partsongs, solo diction textbooks and general choral William Osborne presents a fascinating look Osborne chose ten composers that he felt manuals. It provides a comprehensive survey at this genre from the viewpoint of the best represented the standard literature of of the elements of diction: consonants, vowels societies that directly contributed to their the day. Most of these songs were (in stressed and unstressed syllables), evolution. The concept of a private social conservative in style, in ternary or modified diphthongs and triphthongs, using the organization that focuses on a commitment strophic forms, homophonic and International Phonetic Alphabet to help to presenting music seems foreign to most homorhythmic, definitely accessible for the achieve standard pronunciation. of us today, but they were considered amateur musician. They tended to be Along with excellent but not daunting fashionable during the period between the transcriptions of solo song settings, although descriptions of the physical processes that help Civil War and World War II. Osborne chooses some partsongs were conceived and written produce language, Mr. Cox provides the reader to bring us a detailed history of nine such expressly for a specific singing society. with word lists to hone their diction skills. He organizations, divided into three groups of Osborne gives a detailed account of songs also draws examples from two standard works private, single-sex societies: German Singing written by Amy Cheney Beach, Dudley Buck, in the choral repertory: Randall Thompson’s Societies, American Singing Societies, and George Whitefield Chadwick, Arthur Foote, Frostiana and Haydn’s Creation. Throughout Women’s Singing Societies. Focusing on the William Wallace Gilchrist, Henry Hadley, the manual, he challenges the groups mainly from New York and Boston, Margaret Ruthven Lang, Edward MacDowell, singer/conductor to use clear, intelligible the author gives a brief history of the clubs, John Knowles Paine, and Horatio Parker. diction that will in turn help produce good along with a discussion of their conductors Osborne points out the repositories of these vocal technique and ultimately a more unified and repertory performed. Also included is a partsongs are divided among three major choral sound. brief survey and discussion of partsongs, libraries: New York Public Library, Boston Perhaps the most unique feature of this along with a bibliography, and a well- Public Library, and the Library of Congress. manual is the author’s ability to deal with annotated “checklist” of the ten highlighted Finally, the checklist provided is an excellent regional variations in pronunciation. Cox, long composers of this genre. The book concludes resource for anyone looking to program this associated with the choral faculty at the with an interesting section of illustrations repertoire. This study is a fascinating read for University of North Carolina at Greensboro, is (mainly pictures of clubhouses and featured anyone interested in knowing more about well acquainted with the mannerisms of the programs) and brief examples of the the heritage of partsongs, as well as a southern accent in singing; in addition, he partsongs described earlier. wonderful reference tool for choral offers solutions to the accents of other regions, In order to understand the significance of conductors and singers alike. addressing them in three major groups: partsongs in the choral repertory, Osborne —Nancy King Southern, Eastern, and General American. In begins with the German Singing Societies, UNC Wilmington prescribing solutions, however, the author is which evolved from immigrants gathering always careful to suggest an exploration of together to recall their heritage and foster a A DESCRIPTIVE CATALOGUE OF THE different pronunciations, rather than stressing sense of community. Most notable of these MUSIC OF CHARLES IVES. By James B. only one correct way. In this regard, the German societies was the Liederkranz, an Sinclair. New Haven and London: Yale manual is very “user-friendly.” Valuable organization that remains in existence today University Press, 1999. ISBN 0-300-07601-0. information is also contained in the endnotes, mainly as a sponsor for singing and piano Pp. xxxii, 752. $75.00. which reveal the author’s careful attention to scholarships. They performed primarily Since Ives’s death in 1954, the disorderly the dominant diction and pedagogical German repertoire of minor composers, but and often illegible state of his manuscripts textbooks in this area. His ability to disseminate also engaged prominent artists of the day to has presented a supreme challenge to efforts this information and make it relevant and entertain their private members. As a social at bibliographic organization; such efforts interesting makes Singing in English an organization, the Liederkranz also find their fulfillment in this superb catalogue excellent resource on its own, not just as a participated in fundraising for concert halls by James Sinclair. As music director of the supplement. and hospitals. The American Singing Societies Orchestra New England and editor of —Nancy King developed from this tradition, but provided numerous critical/performing editions of UNC Wilmington a twist by performing German repertoire that was translated into English. The Mendelssohn continued on page 28

The Bulletin for the Society for American Music • Vol. XXVI, No. 1 27 “Reviews of Books” continued from page 27 interrelate Ives’s works with music and “News of the Society” continued from page 19 Ives’s music, Sinclair brings practical as well literature, thereby giving us a fascinating conference will focus on the West's many as scholarly experience to his editorial role. picture of the creative process of this rich ethnic and cultural traditions, as well What immediately strikes the reader when important American composer. as celebrating the power of music to opening to any page of this catalogue is the —Kevin Kelly promote cross-cultural opportunities for clarity of the page layout. The various University of Georgia understanding, alliances, and mutual subdivisions of each entry (e.g., sources, appreciation. A combination of musical publication and performance histories, MUSIC IN EIGHTEENTH-CENTURY performance and energetic lectures, this related literature, etc.) are clearly demarcated GEORGIA. By Ron Byrnside. Athens and event will, through music, provide a in boldface type. Quick access to entries is London: University of Georgia Press, 1997. memorable portrait of the range of enhanced through alphabetic/numeric Pp. 146. occupations, ethnicities, and places of organization within genres, and is further Ron Byrnside has written a fine book that residence from which Westerners draw their facilitated by four extensive indices, three covers nearly everything available on music identities and to which they direct their concordances, seven appendices, and in the colony and young state of Georgia loyalties. Contact David M. Hoffman, Center numerous cross-references within the text. during the eighteenth century, as evidenced of the American West, Campus Box 234, This catalogue amply achieves the goal, as by the impressively complete bibliography. University of Colorado, Boulder CO 80309; stated in Sinclair’s prefatory remarks, of In seven thoughtfully written chapters, he 303-735-3261; [email protected]. making a “readable, rational, and traces the growth of Georgia’s musical life, 1-5 November 2000: Toronto 2000: Musical comprehensive catalogue” that avoids the beginning with the arrival of the British ship Intersections. See complete details in this cryptic abbreviations and sigla that seem to Anne off the coast of Charleston in February issue. burden many such bibliographic works. The 1733, after which General Oglethorpe led 26-29 October 2000: The Fourth clarity and accessibility of Sinclair’s catalogue the 114 men, women, and children to what Bethlehem Conference on Moravian Music. is made all the more apparent when was to become the town of Savannah. Not The Bethlehem Conferences on Moravian compared with that of James Kirkpatrick, surprisingly, scant documentation exists of Music celebrate the rich musical tradition of published in 1960. Kirkpatrick’s catalogue, musical activities until the publication of the the Moravians. This year’s festival celebrates the first significant effort towards the Georgia Gazette thirty years later. For this the 300th anniversary of the birth of Count organizing of Ives’s manuscripts, can be reason, Byrnside divides music in the colony Nicholas Ludwig von Zinzendorf, founder difficult to use for several reasons: its into two periods of roughly equal lengths: of the city of Bethlehem, Pennsylvannia and chronological grouping within genres (the 1733 to 1762, and 1763 to 1800. the 300th anniversary of the invention of dating of Ives’s works is fraught with The earliest music in the colony consisted the modern pianoforte. Proposals for problems and controversy); its assigning of of traditional ballads brought over from papers, lecture/demonstrations, and cumbersome codes to entries; and its unclear England. The most popular instrument was performances should fall into one of the page layout (in which different types of the violin, or fiddle, the preferred instrument following categories: the life, works, and information are often juxtaposed without for dances, weddings, and other celebrations. influence of Zinzendorf; Moravian music sufficient columnar separation). The banjo and the guitar appear infrequently and liturgy; the role of the piano in With its 728 entries, Sinclair’s thorough in the record but more than likely were often nineteenth-century American society and catalogue compiles information from the played. After mid-century, more instruments culture; American/Moravian music for the most recent Ives studies; for example, its became available, such as pianos. piano; or historical performance practices listings of Ives’s borrowings—incorporating Nearly two dozen merchants advertised on the early piano. The deadline for Claydon Henderson’s and J. Peter musical instruments between 1763 and 1799. proposals is 15 May, 2000. Proposals may Burkholder’s work in this area—alone make A few dancing schools and musical be sent to Dr. Carol Traupman-Carr, Co- the book worth it. Moreover, the inclusion academies appeared briefly, only to chair, Fourth Bethlehem Conference on of musical incipits provides helpful visual disappear as quickly. Songs were popular Moravian Music, Moravian College, 1200 reference. If there is any shortcoming in this and appeared in dramas, often called operas. Main Street, Bethlehem PA 18018-6650; FAX: book, it may be found in the discography. The first one was “The Duenna,” or “The 610-861-1657; [email protected]. Ives was one of the first composers who Double Elopement” (1775). Byrnside also provided important recorded documentation discusses music of the various religious of his music. Of the recordings made by Ives groups: Anglicans, Jews, Salzburgers and himself, Sinclair neglects to mention those Moravians, Baptists and Congregationalists, that have been transferred from the original as well as John Wesley and Methodists, most tapes to compact discs. Admittedly, CDs often of whom sang hymns and psalm tunes. One quickly and distressingly go out of print, but important musical source was the their locations in libraries can still be tracked Charlestown Collection, the first hymn book through their cataloging, thus providing an published on American soil in 1737. Professor important resource for Ives studies. This Byrnside has done an excellent job of catalogue is a most welcome addition to Ives narrating the musical life of Georgia during scholarship in particular, and to American the eighteenth century. musical studies in general. It comprises more —N. Lee Orr than an academic compilation of facts and Georgia State University figures; Sinclair’s generous commentaries

28 The Bulletin for the Society for American Music • Vol. XXVI, No. 1 SOME RECENT ARTICLES AND REVIEWS

Joice Waterhouse Gibson, University of Colorado at Boulder ACOUSTIC GUITAR (Dec 99): Russell Brewer Phillips, Ella Mae Morse, Milt CLASSICAL SINGER (Nov 99): several Letson, “One Guitar, No Borders [Leo Jackson, Louis Hardin, Bea Sumlin, Chan articles on performer’s unions, including Kottke],” 60; (Feb 00): Bill Milkowski, “His Richardson Parker, Beau Jocque, 46. AGMA, 9. Goals Beyond [John McLaughlin],” 38; BLUES REVUE (Jan/Feb 00): Bill DIRTY LINEN: FOLK AND WORLD Orville Johnson, “Piedmont Blues [John Wasserzieher, “Buddy Guy: A Bluesman for MUSIC (Dec 99/Jan 00): Kerry Dexter, Jackson],” 54.AMERICAN MUSIC All Seasons,” 8; Michael Cote, “B.B. King: “NewGrange: Playing Outside the Lines TEACHER (Dec 99/Jan 00): Douglas E. Swingin’ With the King,” 14; John Dempsey, [Leo Kottke],” 12; Tom Nelligan, “Tom Bomberger, “When American Music was “A Century in Blues [illustrations],” 28. Paxton: Forty Years of Songs,” 48. (Feb/Mar King of MTNA,” 32. BRIO (Fall 99): Rev. of Mary DuPree, ed., 00): Maureen Brennan, “Dave Moore: THE AMERICAN ORGANIST (Jan 00): Musical Americans: a biographi- Evolution of a Folk Singer,” 26; David Calvert Johnson, “Florence Beatrice Price: cal dictionary 1918-1926, by John Oancia Prieto, “Compay Segundo: Cuba’s Chicago Renaissance Woman,” 68. Wagstaff, 162. Finest,” 31; Michael Parrish, “Mickey Hart: Musical Healing,” 48. AMERICAN RECORD GUIDE (Jan/Feb CADENCE (Jan 00): Bill Donaldson, “Gary 00): Paul Moor, “Elliott Carter Writes an Burton: Interview, Part 1,” 5. DOUBLE BASSIST (Winter 99): Barb Opera,” 6; John Von Rhein, “[William] McDougall, “As Good as it Gets - Neil Bolcom Hits a Homer,” 14; Wes Blomster, CAMBRIDGE OPERA JOURNAL (July 99): Swainson, Canadian jazz giant,” 30. “A Gathering for Gould,” 17. Michal Grover-Friedlander, “ ‘The Phantom of the Opera’: the lost voice of opera in THE DOUBLE REED (22/3, 99): Robert ARCHIV FüR MUSIKWISSENSCHAFT silent film,” 179. Howe, “The Robert Bloom [oboe] (56/4, 99): Marianne Betz, “ ‘In futurum’ - Collection,” 69. (22/4, 99): Sara Lambert von Schulhoff zu Cage,” 331. CANADIAN UNIVERSITY MUSIC Bloom, “Sara Bloom on Robert Bloom - The REVIEW (19/2, 99): Gordon E. Smith, “The Legacy,” 47. ASSOCIATION FOR RECORDED SOUND Cult of the Folk: Ideas and Strategies after COLLECTIONS JOURNAL (Fall 99): Rev. Ernest Gagnon, 16; Angela Taranger, FANFARE (Jan/Feb 00): Walter Simmons, of Charles Wolfe, A Good-Natured Riot: the “Multiple Meanings: The Role of Black “New York Philharmonic: An American Birth of the Grand Ole Opry, by Don Roy, Gospel in an Interracial and Multi-Ethnic Celebration,” 138. 172; rev. of Edward Komara, comp., The Edmonton Church,” 61; Christopher Scales, FILM SCORE MONTHLY (Sept/Oct 99): Dial Recordings of Charlie Parker, by Tad “First Nations Popular Music in Canada: Jeff Bond, “If You Ask Me [Jerry Hershorn, 177; rev. of sound recordings of Musical Meaning and the Politics of Goldsmith],” 28; Jeff Bond, “Swingin’ in the works by Gershwin, Irving Berlin, Kurt Identity,” 94; Annemarie Gallaugher, Late ‘60s, Baby! [Jerry Goldsmith]”, 30. (Nov Weill, 180. “Articulations of Locality: Portraits and 99): Jeff Bond, “Stamps of Approval BASS PLAYER (Jan 00): Harvey Pekar, Narratives from the Toronto-Cuban [Legends of American Music Series],” 24; “Duke Ellington’s Incredible Bassists,” 18. Musicscape,” 102. Guy Mariner Tucker, “Float Like a Butterfly BBC MUSIC MAGAZINE (Nov 99): CHAMBER MUSIC (Dec 99): Kyle Gann, [Jerry Goldsmith],” 28. Humphrey Carpenter, “Billie Holiday,” 54. “American Composer: Janice Giteck,” 24; FLUTE TALK (Nov 99): Carol Wincenc, (Dec 99): Robert Cushman, “Richard Gene Santoro, “Chamber Jazz: It’s What “Performing Tower’s Concerto,” 8. (Dec 99): Rodgers: From Oklahoma to the Alps,” 35. You Do,” 28. (Feb 00): Kyle Gann, “Techno- Scott Paterson, “Champion of BLUEGRASS NOW (Oct 99): Loretta Driven Chamber Music: Is It Driving Contemporary Music: An Interview with Sawyer, “Rhonda Vincent,” 22; Julie Musicians Out?” 48; James M. Keller, “High Robert Aitken,” 8; Mary Karen Clardy, Koehler, “Dennis Caplinger,” 26. (Nov 99): Fidelity: Moog, Before & After,” 54. “Performing Ned Rorem’s Trio,” 12. (Jan Eddie Collins, “Jeff White,” 18; Louisa CHORAL JOURNAL (Nov 99): Russell 00): Lana Johns, “Cajun Folk Songs,” 21; Branscomb, “Mark Newton,” 22; Amy Mathis, “ACDA’s Forty-Year Journey,” 9. Susanna Self-Huppert, “Beyond the Score [William Bolcom’s Lyric Concerto],” 27. Reinholds, “The Grasshoppers,” 26. (Dec CHURCH MUSICIAN TODAY (Dec 99): 99): Hilary West, “Mike Stevens,” 18; Jon Betty McLellan Jones, “Cadences in Sandi THE FLUTIST QUARTERLY (Fall 99): Weisberger, “Dolly Parton,” 22; Barbara Patty’s Life,” 6. (Jan 00): Betty McLellan Various articles, Convention 27: The Baird, “Dale Ann Bradley,” 24. (Jan 00): Jones, “Behind CeCe’s {Winans] Smile,” 16. American Flutist, 38. Nancy Cardwell, “Mike Hartgrove, “ 20; THE CLARINET (Dec 99): James Glasgow, GRAMMY MAGAZINE (Winter 99): Sandy Julie Koehler, “Crary & Hoppers & Their Masuo, “Billy the Kid [Robert J. Ritchie],” American Band,” 22; Loretta Sawyer, “The King of Swing [Benny Goodman] and I,” 34. 20; Larry Flick, “Rhymes and Misdemeanors “Nancy Moore,” 28. [Missy Elliott],” 28; Darren Ressler, “As the BLUES ACCESS (Winter 99): Michael CLASSICAL CD (Christmas 99): Michael World Spins [DJ culture],” 31; Marc Felten, “Maxwell Street [Chicago] Blues,” Liver, “Weill’s Vulgar Music,” 48; Philip Weingarten, “Decks and Drums Infiltrate 36; John Sinclair, “Witness to the Blues, John Clark, “Legends of Jazz Piano,” 54; Jan the Mainstream [electronic music],” 36; Rockwood [photos and text],” 41; In Fairley, “Christmas in the Andes,” 64. Laurel Fishman, “All in the Family [musical Memory: Frank Frost, Katie Webster, continued on page 30

The Bulletin for the Society for American Music • Vol. XXVI, No. 1 29 “Recent Articles and Reviews” continued from page 29 by Women Composers [incl. Miriam the Way: Pioneer American and British legacies],” 45; David Nathan, “When Gideon, Barbara Kolb, Libby Larsen, Sally Cornet Soloists,” 17. Smokey [Robinson] Sings,” 48. Reid],” 45. NOTES: QUARTERLY JOURNAL OF THE GRAMOPHONE (Awards Issue): David JOURNAL OF THE AMERICAN MUSIC LIBRARY ASSOC. (Dec 99): Joel Fanning, “The American Symphony,” 56. MUSICOLOGICAL SOCIETY (Summer 99): Galand, “Reconstructing a Broadway (Dec 99): Sedgwick Clark, “Plundering the Rev. of Judith Tick, Ruth Crawford Seeger: Operetta: The Case of Kurt Weill’s US Archives,” A1. A Composer’s Search for American Music, Firebrand of Florence,” 331; rev. of Jack by Larry Starr, 383. Sullivan, New World Symphonies: How GUITAR PLAYER (Jan 00): Art Thompson, American Culture Changed European “The King Swings [B.B. King tribute to Louis LIVING BLUES (Jan/Feb 00): Chuck Music, by Nicholas Tawa, 376; rev. of Cyrilla Jordan],” Lisa Sharken, “3 Chords and 30 Haddix, “Tales from Tom’s Town [history Barr, Elizabeth Sprague Coolidge: American Years [Billy Gibbons],” 90. of Kansas City blues],” 10. Patron of Music, by Susan Borwick, 416; GUITAR REVIEW (Sum 99): Brian Hodel, MORAVIAN MUSIC JOURNAL (Fall 99): C. rev. of Adrienne Fried Block, Amy Beach, “Twentieth-Century Music and the Guitar: Daniel Crews and Nola Reed Knouse, Passionate Victorian: The Life and Work of Part I: 1900-1945,” 9; Johannes Tonio “Questions of Music in the Church: As Seen an American Composer, 1867-1944, by Kreusch, “New Cuban Music: Introducing by the Unity Elders’ Conference, May, Juanita Karpf, 418; rev. of Philip Lambert, Tulio Peramo,” 16. 1790,” 5. ed., Ives Studies, by Denise von Glahn, 420; HI-FI NEWS (Nov 99): Rev. of Carl MUSIC ANALYSIS (Oct 99): Eric F. Clarke, rev. of Caetano Veloso, Verdade tropical Woideck, Charlie Parker: His Music and “Subject-Position and the Specification of [Brazilian pop music], by Tom Moore, 429; His Life, by Ben Watson, 146. Invariants in Music by Frank Zappa and P. rev. of Alison J. Ewbank and Fouli T. J. Harvey,” 347; Dal Griffiths, “The High THE HYMN (Oct 99): William J. Reynolds, Papageorgiou, eds., Whose Master’s Voice? Analysis of Low Music [British & American “George Litch Knight: Minister, The Development of Popular Music in pop music],” 389. Hymnologist, Historian, Humanitarian, and Thirteen Cultures [incl. Brazil, Hawaii, Hymn Society Leader,” 13; Constance M. MUSIC AND LETTERS (Nov 99): Rev. of Jamica, US], by Robert Burnett, 430; rev. of Cherry, “Current Hymn Singing Practices in Ted Gioia, The History of Jazz, by Mervyn Peter Ostwald, Glenn Gould: The Ecstasy Cuba: Some Observations,” 28; C. Michael Cooke, 655; rev. of Taylor Aitken Greer, A and Tragedy of Genius, by Carl Morey, 431; Hawn, “The Fiesta of the Faithful: Pablo Question of Balance: Charles Seeger’s rev. of Mary Jane Corry, Kate Van Winkle Sosa and the Contextualization of Latin Philosophy of Music, by David Nicholls, 657; Keller, Robert M. Keller, The Performing American Hymnody,” 32. (Jan 00): Vincent rev. of Christopher Shultis, Silencing the Arts in Colonial American Newspapers, A. Lenti, “Hymnal Companions: A Sounded Self: John Cage and the American 1690-1783: Text Database and Index, by Commentary and Guide,” 12; Robert D. Experimental Tradition, by David Nicholls, Nym Cooke, 460; rev. of Nym Cooke, ed., Hawkins, “ ‘Nothing But the Blood,’ [hymn 658; rev. of Mavis Bayton, Frock Rock: Timothy Swan: Psalmüody and Secular topic/texts]” 17; Paul A Richardson, comp., Women Performing Popular Music, by Songs, by Shawn Fenton, 488. “Theses and Dissertations Related to Allan F. Moore, 661. THE OPERA JOURNAL (June 99): Rev. of Hymnody,” 26; Paul R. Powell, “Establishing MUSIC THERAPY (17/2, 99): William B. Joseph Horowitz, Wagner Nights: An a Canon of Common Hymn Texts: The Davis, “The American Music Therapy American History, by Clifford D. Alper, 47. Contributions of Louis F. Benson,” 36. Association: An Inventory of Records,” 99. THE OPERA QUARTERLY (Fall 99): Harlan THE INSTRUMENTALIST (Dec 99): Hoyt THE MUSICAL QUARTERLY (Sum 99): Jennings, “The Early Days of Grand Opera LeCroy, “Even Sousa Praised Gerald Allen Forte, “Reflections upon the in Kansas City, Missouri, 1860-1879, 677; Prescott,” 78. (Jan 00): William Kenny, Gershwin-Berg Connection,” 150; John rev. of Sherrill Milnes, American Aria: From “Rediscovering Morton Gould’s Family Belton, “Awkward Transitions: Hitchcock’s Farm Boy to Opera Star, by Catherine E. Album Suite for Band,” 18. Blackmail and the Dynamics of Early Film Campbell, 738. INTERNATIONAL TRUMPET GUILD Sound,”227. ORCHESTER (Oct 99): Hans-Jürgen Schaal, JOURNAL (Jan 00): Keith Winking, “The THE MUSICAL TIMES (Winter 99): Rev. of “Die Comedian Harmonists [incl Legacy of Ernest S. Williams,” 34; Doug Reinhold Brinkman and Christoph Wolff, Americans],” 2. Wilson, “Ernest Williams Through the Eyes eds., Driven into paradise: the musical PHILOSOPHY OF MUSIC EDUCATION of Former Students,” 48. migration from Nazi Germany to the United REVIEW (Fall 99): Andrea Boyea, “Native JAZZ EDUCATORS JOURNAL (Nov 99): States, by Ian Kemp, 70; rev. of Stewart American Music and Curriculum: David Ness, “Freddie Green: Birth of a Feder, The life of Charles Ives, by Diana Controversies and Cultural Issues,” 105. Style,” 43. Burrell, 75. POPULAR MUSIC (Oct 99): Cristina THE JOURNAL OF COUNTRY MUSIC MUSICWORKS (Fall 99): Udo Kasemets, Magaldi, “Adopting imports: new images (21/1, 99): Lauren Bufferd, “Bonnie Dodd: “(Re)Reading John Cage,” 11; Pauline and alliances in Brazilian popular music of Steel Magnolia,” 4; Dave Hoekstra, “Steve Oliveros, “Quantum Improvisation [incl. the 1990s,” 309; Nicola Dibben, Earle: Long Night’s Journey Into Day,” 12; historical perspective],” 14. “Representation of femininity in popular Chris Dickinson, “The Still Blue Hour of NATIONAL ASSOCIATION OF COLLEGE music,” 331; Hilary Lapedis, ““Popping the Stacey Earle,” 20. WIND AND PERCUSSION INSTRUCTORS question: the function and effect of popular JOURNAL OF SINGING (Nov 99): Sharon (Winter 99-00): Joseph L. Bowman, “Paving music in cinema,”367; Paul Filmer, Val Mabry, “New Directions: More Song Cycles Rimmer, and Dave Walsh, “Oklahoma!:

30 The Bulletin for the Society for American Music • Vol. XXVI, No. 1 ideology and politics in the vernacular Study Days in Birmingham. tradition of the American musical,” 381; Search for Editors William Tsitsos, “Rules of rebellion: The University of Birmingham, of American Music and slamdancing, moshing, and the American Department of Music Annual Study Days, The Bulletin. alternative scene,” 397; rev. of Thomas coordinated by Stephen Banfield, will take See page 14. Swiss, John Sloop, and Andrew Hernam, place on Friday and Saturday, 9 and 10 June eds., Mapping the Beat. Popular Music and 2000 in the New Lecture Theatre, Contemporary Theory, by Dave Laing, 419. Birmingham Conservatoire. Friday’s study College Warrington): “I’ll Be Your RESEARCH MEMORANDUM SERIES topic is titled Aspects Of The British Musical Sweetheart: musical piracy and postwar (ACDA) (No. 176): James Graham Kantor, Renaissance VII. The Saturday session, social reconstruction,” SALLY PLOWRIGHT “The Choral Music of Daniel Asia.” concerning popular musical theatre and (University of Birmingham): “Rouben RHYTHM (Jan/Feb 00): Chiori Santiago, musical film, features a number of SAM Mamoulian’s ‘integration of all theatrical “Buena Vista Social Club,” 24. members. elements into one stylised rhythmic pattern’ Session I: Performance and performers: in MGM’s Summer Holiday” SAXOPHONE JOURNAL (Nov/Dec 99): history, materials, and practice: SUSAN Session III: Intersections with opera and Andrew N. White, III, “Can John Coltrane RUTHERFORD (University of Manchester): operetta: HELEN SMITH (University of Survive the Academy?” 58. (Jan/Feb 00): “Emily Soldene: the female impresario and Birmingham): “Arias and Barcarolles: forms David Todoroff, “Maceo Parker,” 20. the British 19th-century musical stage,” and structures in Bernstein’s Trouble in SHEET MUSIC (Jan/Feb 00): Kirk Miller, GEORGE FERENCZ (University of Tahiti.” WILLIAM EVERETT (University of “Swing! The Renaissance Comes to Wisconsin): “The Broadway sound: Robert Missouri, Kansas City): “Canadian Ruritania?: Broadway,” 3; Gene Lees, “The Shaping of Russell Bennett’s half-century in musical Friml’s Rose-Marie on stage and screen.” Johnny Mercer,” 6. theatre,” NEIL CASEY (University of For those who are not members of the SING OUT! (Fall 99): Jared Snyder, “Boozoo Birmingham): “Changes in orchestration University of Birmingham or the University Chavis: His Own Kind of Zydeco Man,” 34; and performance practice in musical of Central England there will be a 10-pound Rik Palieri, “U. Utah Phillips: True Timing,” comedy: a case study of voice and strings,” administration fee for each day (15 pounds 56; Roger Deitz, “Artie Traum: Changing HELGA PERRY (University of Birmingham): for attendance at both), payable in advance Partners, Changing Times,” 68. “Reconstructing Happy Hampstead, Richard (to The University of Birmingham) or on the D’Oyly Carte’s 1876 one-act operetta.” day. For more information, contact Sue SONDHEIM REVIEW (Fall 99): articles on Session II: Three musicals of the 1940s: Weldon, Department of Music, University Sondheim’s Merrily’s. PAUL MACHLIN (Colby College): “Early To of Birmingham, Edgbaston, Birmingham SOUNDBOARD (Summer 99): Anton Bed but late to rise: Waller composes his B15 2TT; Telephone, 0121-414-5782; Machleder, “20th Century Cuban Music for final show,” JOHN MUNDY (University [email protected]. Guitar,” 7. SYMPHONY (Jan/Feb 00): Paul Griffiths, “Elliott Carter’s Symphonia,” 40; Isaac Stern, “Prodigy at the Crossroads [Isaac Stern],” OBITUARIES 44; Diana Burgwyn, “An American Romantic [Elinor Remick Warren],” 50. T.U.B.A. JOURNAL (Winter 99): Gerry Sloan, “Yuba Meets Jabba: The Expanding Irene Heskes (1923-1999), a historian Arthur Foote II (1911-1999) died on 9 Role of Tuba in Film Music,” 43. and author who specialized in Jewish music, December 1999 at his home in Southwest died 14 October 1999 at the age of 76. Ms. Harbor, Maine. A retired Unitarian THE WORLD OF MUSIC (41/1,99): Leslie Heskes worked as a researcher, writer, and Universalist Minister, he served parishes in C. Gay, Jr., “Hearing is Seeing: Listening for lecturer for the Theodor Herzl Institute of Stockton and Sacramento California, and New York Rock Musicians,” 9; Gage Averill, the Jewish Agency from 1964 to 1976. She for twenty-five years in St. Paul Minnesota. “Bell Tones and Ringing Chords: Sense and also was the director of the National Jewish The grand-nephew and namesake of Sensation in Barbershop Harmony,” 37; Music Council from 1968 to 1980 and was composer Arthur Foote (1853-1937), he Raœl R. Romero, “Aesthetics of Sound and a consultant to the American Jewish studied piano and theory with the composer Listening in the Andes: The Case of the Historical Society and to libraries and and amassed a nearly complete collection Mantaro Valley,” 53; Tim Becker and academic institutions. In 1980, she founded of the published works of Foote. In 1988, Raphael Woebs, “ ‘Back to the Future’: the American Yiddish Theater Music he donated this collection, which also Hearing, Rituality, and Techno,” 59; rev. of Restoration and Revival Project, which includes scrapbooks, letters, a few Ingrid Monson, Saying Something: Jazz assembled, catalogued, and microfilmed a manuscripts and other memorabilia, to Improvisation and Interaction, by Frank comprehensive collection of Yiddish theater Williams College under the care of Douglas Tirro, 113. music. The collection is now available for Moore. study at the Library of Congress.

The Bulletin for the Society for American Music • Vol. XXVI, No. 1 31 Notes from the SAM Tickler File

Twenty-seventh Conference, Society for American Music – 23 - 27 May 2001 The Society for American Music will hold its twenty-seventh conference in Port of Spain, Trinidad, Memorial Day weekend, 23-27 May 2001. Proposals for papers, sessions, and performances involving any aspect of music in Canada, the United States, and the Americas are welcome. Given the rich musical heritage of Trinidad in many types of music, the program committee would like to encourage in particular papers, programs, or presentations relating to the music of Trinidad and the Caribbean as well as those that involve interdisciplinary links. See the announcement elsewhere in this issue for the submission details. All materials should be postmarked on or before 10 September 2000, and should be sent to Johann Buis, CBMR, Columbia College Chicago, 600 S. Michigan Av., Chicago, IL 60605-1996.

New Name for the Bulletin: Please note that the name of the Bulletin has changed. The official name is now The Bulletin of the Society for American Music, founded in honor of Oscar G. T. Sonneck. Please update your indexing accordingly. Thank you.

Search for Editors The Board of the Society for American Music is searching for editors for both American Music and The Bulletin. See page 14 for details.

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