The launching of a new journal came about only through the hard work of many people in the Society. I especially want to thank Susan Key, who headed the Journals Concerns Committee and who has invested an extraordinary amount of work in this issue. I also want to The Bulletin thank our Executive Director Mariana Whitmer for the time and energy she OF THE S OCIETY FOR A MERICAN M USIC put in. Many members of the Journals Concerns Committee, Carol Oja, Judith FOUNDED IN HONOR OF O SCAR G . T. S ONNECK Tick, George Keck, and Michael Pisani, also deserve special thanks – Carol and Vol. XXXII, No. 3 Fall 2006 Judith, in particular, as they took the lead in assembling the massive docu- ment that went before the Cambridge FROM THE PRESIDENT: Press Syndicate. The current editor, Ellie NEW JOURNAL FOR SAM Hisama, and the previous editor, David Nicholls, also contributed considerably. Beginning in 2007 our official journal has never offered us any royalties or profit Ellie deserves special kudos, not only will be the Journal of the Society for sharing on institutional members, which for all of her input, which only someone American Music (JSAM). We are delight- is a significant sum. That, we discovered, in the editor’s position could supply, but ed to have Cambridge University Press is unique for society journals. When we because she has been right in the middle as a publishing partner, and to have the indicated we were not renewing the cur- of the transition and has handled that resources of one of the most prestigious rent contract Illinois chose not to continue with aplomb and cool diplomacy. Finally presses in academia fully supporting it. further discussion. Rather than litigate the I want to thank James Mercer, an attor- With Cambridge, we can expect a greater title American Music, whose ownership is ney who, at the invitation of Susan Key, international presence at a time when the ambiguous in the contract, we chose to offered his services to us pro bono. Jim entire world is becoming interested in start afresh with a new press and a new deserves a special award for all the work American music; use of advanced digi- title that announces to the world who we this entailed. tal technology in both distribution and are. Now that we have our new journal, support of the journal – something that Our society is grateful for the early its future depends very much on its con- promises to become even more signifi- support University of Illinois Press gave, tent. The scholarly world as well as many cant as the world moves further into the when Sonneck was a new, fledgling soci- libraries will be looking at it closely to digital age; and a financial arrangement ety and the journal was only a vision for see just how it measures up. I would like that will help put our society on even our members who believed that American to encourage the entire society to support better footing. JSAM has the potential to music needed a stronger voice in the it, not only through your membership but become one of the premier journals in the scholarly community. Much has changed especially through your scholarly contri- field of music. since then, not the least the exponential butions. I know that Ellie has many ideas We did not make this move lightly. growth of American music as an area of and plans, but the quality cannot be better Rumors are rampant and the record needs scholarly investigation. 24 years ago there than the content she receives. I especially to be set straight. For 24 years SAM has was only a handful of scholars interested want to encourage senior scholars, as well published American Music as its offi- in the field, papers at conferences such as younger scholars, to submit material. cial journal with University of Illinois as the national meeting of the American In many ways the future depends on that. Press. I appointed the Journals Concerns Musicological Society were few and far Please join me in making JSAM an Committee because we have had serious between, and in many institutions stu- outstanding voice of our society. editorial problems with UIP for at least dents were actively discouraged from – Michael Broyles the past ten years. In attempting to look pursuing dissertations in American music. into this the committee met with hostility Now the musical landscape is quite dif- FAQs on SAM’s New Journal and resistance, and in some cases requests ferent. The study of American music for information were ignored or rejected. thrives, and has a central place in many – Ellie Hisama In addition SAM has recently run a small curricula. Composers, performers, and Editor, Journal of the Society for operating deficit, mostly because of the scholars together have demonstrated the American Music cost of the journal. Our contract was due richness and diversity of American musi- for renewal and prudence dictated that we cal culture, the foundation upon which all What is your background in American do some comparison shopping. We dis- scholarly investigation is built. The field music studies? covered six other presses that were eager of musicology itself has engaged all types I hold a Ph.D. in music theory from the to offer us much better terms, both finan- of music with a vigor inconceivable 25 Graduate Center of the City University cially and editorially. For instance UIP years ago. continued on page 55 STANDPOINTS

Imagining an Ideal Graduate Program in American Music – The SAM Student Forum Editor’s Note: “Standpoint” appears in every fall issue of the Bulletin. It is meant to provoke discussion, of jazz and other popular musics; and reflection, and even controversy. Please respond with a letter to the editor or short essay; all responses the increasing frequency of advertised will be printed in a “Counterpoint” section of the winter Bulletin. Deadline is 17 December (when most of us are finishing semesters), so please consider sending your response early! And if you are interested academic positions for specialists in in writing a future Standoint, or have an idea for a topic, please let me know. It is hoped that this series American music. Reflecting on the grow- will engender discussions that we can continue at annual meetings and among ourselves, and that it will ing presence of American music stud- broaden our understanding of what we do – collectively and individually. ies in the academy, Cockrell exclaims, – Sandra Graham, Bulletin Editor “American Music as a subject worthy of [email protected] interest, study, and career planning has arrived!” (p. 277). Introduction American music – programs that will pre- But, even with all of this growth, pare the next generation of Americanists This installment of “Standpoint” has been Cockrell proposes that the development to take the field beyond what we can envi- renamed “Standpoints,” in the plural, of American music studies as an academic sion today. since it is the result of an ongoing col- discipline cannot yet be declared a com- – Ryan Raul Bañagale laborative effort by members of the SAM plete success, noting that “the fact that the Harvard University Student Forum. It is not an end result, one last step toward traditional discipline- hood is as yet untaken – the development but rather a launching point to consider I. Background the topic at hand. The study of American of doctoral programs – is of a magnitude music stands at a crossroads in imagining The Summer 2004 issue of American of significance not to be underesti- new paradigms for graduate programs Music presented the proceedings of a mated… Without Ph.D. programs of that transcend conventional boundaries panel held at the 2002 conference of standing, fields of scholarly interest are and incorporate interdisciplinary work the International Association of Music subjects; with them, they are disciplines” both within and beyond the academy. Libraries, Archives, and Documentation (p. 277). Taking Cockrell’s observation as The issues are manifold and, as observed Centres (IAML) entitled “Disciplining its starting point, the Society’s Student during our standing-room-only session at American Music: Issues Affecting Forum organized a panel discussion for the Chicago conference in March, highly Scholars, Teachers.” As part of that panel, the 2006 SAM/CBMR conference in contentious. Clearly the subject merits Dale Cockrell presented a position paper Chicago entitled “Imagining an Ideal further discussion. entitled “Can American Music Develop a Graduate Program in American Music” Just as the SAM History Project Method?” in which he identifies “seven with the primary goal of continuing the seeks to understand better how the study gestational stages that lead from general- discussion initiated by Cockrell and the of American music became institutional- interest topic or subject to fully developed other scholars who participated in the ized and validated through the work of scholarly discipline” (p. 273). These are: 2002 IAML panel. Furthermore, this the Society’s founding members, our 1) subject definition, 2) methodology panel sought to integrate the next gen- panel and this essay strive to gauge the development and expression, 3) scholarly eration of American music scholars into progress of American music studies and society formation, 4) scholarly publica- a discussion already taking place among to explore possible routes for its contin- tions, 5) curriculum development, 6) spe- more established scholars. These young ued development. In order to contemplate cialist faculty, and 7) doctoral programs. scholars will inevitably shape the future the “ideal,” we must first establish what Cockrell explains that, by his estimation, development of American music studies we have in the present. Following a brief all but one of these gestational stages as a discipline. background section, we offer the results has been achieved through the work of With these purposes in mind, the of a recent survey undertaken by the SAM American music scholars Frédéric Louis Student Forum invited two senior schol- Student Forum. This summary concludes Ritter, John Tasker Howard, Gilbert ars – Carol Oja (Harvard University) with anonymous offerings from graduate Chase, H. Wiley Hitchcock, and Charles and Guthrie P. Ramsey, Jr. (University students currently studying American Hamm (to this list we would like to add, of Pennsylvania) – and two graduate topics. For a more in-depth point of view, at the very least, Eileen Southern and students – Loren Kajikawa (University we turn to current graduate student Loren Adrienne Fried Block); the establishment of California, Los Angeles) and Sheryl Kajikawa to share his individual visions of the Institute for Studies in American Kaskowitz (Harvard University) – to of an “ideal” program. Music (1971) and the Society for share their thoughts on the current state This remains a continuing process American Music (née Sonneck Society of American music studies and to outline for us all. Let’s collectively imagine, for American Music, 1975); the publica- their own conceptions of an “ideal” grad- as purveyors of this fantastic musical tion of the journal American Music; the uate program in American music. In the heritage, ideal models for the programs in development of courses in the histories past the audience for our Student Forum

50 The Bulletin of the Society for American Music • Vol. XXXII, No. 3 The Bulletin of the Society for American Music • Vol. XXXII, No. 3 51 sessions has largely consisted of students, that are typically kept separate in music (ethnographic, historico-musicological, but in Chicago our panel was also attend- departments. Of those who reported theory and analysis), and regions (North ed by an unprecedented number of junior, interests in only one category, 26% were and South America). Some examples of senior, and emeritus faculty. While there in concert music, 21% in popular music, participant comments include: remain more questions than answers, we and only 3% in folk or traditional music It would have to be interdisciplinary, engaged in an open and meaningful con- (likely a reflection of the fact that a large allowing students to reach into fields versation, one we hope will continue. majority of survey respondents identified such as art history, sociology, religion, – Travis D. Stimeling themselves as historical musicologists). film studies, psychology, etc.... There University of North Carolina Overall, interest in popular music and would be a set of requirements to cover at Chapel Hill concert music of all periods was about American music from colonial times to the present, vernacular and cultivated even at around 60% each; traditional and traditions. There would be offerings of II. A Survey of American Music folk music was much less, with approxi- Graduate Programs American music ensembles (jazz, old- mately 20%. Nearly one-quarter of time string bands, etc.). The program One hundred and twelve graduate stu- respondents characterized their interests would encourage interaction between dents from fifty schools across North as “other”; these included: jazz (7), musi- composers, musicologists, ethnomu- America participated in the online SAM cal theater (3), music and technology (3), sicologists, theorists and performers. student survey. Schools with the most Native American music (2), film music (Musicology doctoral student, ABD) respondents included: CUNY Graduate (2), dance (2), gender/women’s studies Interdisciplinary study should be avail- Center (6), UCLA (6), University of (2), church music, sound art, and sociol- able and encouraged between music, Illinois at Urbana-Champaign (5), and the ogy of music. American studies, history, literature, Eastman School of Music (5). (For com- Survey respondents were asked to rate and other departments; within music plete survey results, see the survey sec- their level of satisfaction with four main varying approaches should be taught, tion of the SAM Student Forum website: areas: their overall program, guidance and including ethnographic, historico-musi- cological, and music analytical methods. http://american-music.org/membership/ mentoring, course offerings in American music, and funding opportunities in (Musicology doctoral student, in course- SAMStudentSurvey2006.html.) Although work) the survey was open to graduate students American music. Over 75% of graduate studying American music topics within students reported being “satisfied” or Necessarily interdisciplinary. Able to any academic discipline, the majority “extremely satisfied” with their program negotiate between “art” and “folk” music of respondents were from music depart- overall, and about 70% reported the cultures, and to reconcile the commercial- ism of “pop” music with the need for aca- ments: nearly two thirds from musicology same satisfaction levels for the guidance 1 and mentoring they have received. demic critique. To be both synchronic and and one quarter from ethnomusicology. diachronic, and to find a balance between Respondents expressed less satisfaction The remainder of surveys were submitted the study of music as sound and music from graduate students in music theory, with American music course offerings, as culture. (Ethnomusicology doctoral music performance, American studies, with slightly more than half indicating student, ABD) and history. Most survey participants “satisfied” or “extremely satisfied.” The were doctoral students; master’s students response regarding funding was strikingly Other respondents emphasized the impor- and those who completed Ph.D.’s within low: 68% described themselves as “not at tance of performance, engaged faculty, the last five years were also represented. all” or “somewhat” satisfied with funding professional development, course offer- Over half of those surveyed were SAM opportunities in American music. ings, and funding: members, though less than half reported In response to the open-ended It would have: Professors who are inter- having attended a SAM conference. question, “What would an ideal graduate ested in more than one narrow area of Respondents were asked to describe program in American music look like?” a interest, who share their students’ enthu- their interest areas in terms of six cat- large number of survey participants (63%) siasms and help guide them in terms of egories: concert music (divided between mentioned interdisciplinary approaches, projects, career mentoring, and overall 19th century or earlier and 20th–21st expressing interest in working with fields professional development; offer three or more courses per semester in American centuries), popular music (historical or outside music departments as well as across musical sub-disciplines. Academic music or related topics; encourage current), and traditional/folk music (his- students to participate in performance- disciplines mentioned most often by torical or current). Although we acknowl- related activities related to their areas edge that these categorizations can be respondents included: History (12), of interest; be open-minded about new problematic in many ways, our aim was American Studies (11), Literature (8), and unexplored areas; assist with help- to determine in general terms the research Sociology (6), Art History (5), Cultural ing students get funding for research, etc. areas that today’s graduate students are Studies (4), Film Studies (4), African (Musicology Ph.D.) pursuing. What is perhaps most interest- American Studies (3), Anthropology Still other students were skeptical ing is the fact that nearly half of all par- (2), Gender Studies (2), Media and about the value of a specific program in ticipants (45%) expressed interest in more Communications (2), and Urban American music, arguing that grounding than one of our three general categories, Studies (2). Within music departments, in general musicology or ethnomusicol- indicating a relatively widespread interest students expressed interest in working ogy serves as better preparation for an in doing research across musical genres across musical genres, methodologies

50 The Bulletin of the Society for American Music • Vol. XXXII, No. 3 The Bulletin of the Society for American Music • Vol. XXXII, No. 3 51 academic career: ticipated as a student or teaching assistant, in Schenkerian analysis. These changes, my experiences with these courses have which reflect growing trends across the I’m not 100% sure that a specifically reinforced my belief in the value of reach- discipline of musicology, enable today’s American program in music would be the ideal. I am so grateful that my graduate ing out to students by studying what mat- students to envision new and creative music education was so broad because ters to them, responding to and respecting ways of understanding and investigating I am comfortable teaching almost any- the diversity of American society, and topics in American music. thing asked of me – and nowadays it is engaging the important political dimen- Musicology still faces certain chal- hard to find a job where you don’t teach sions of contemporary culture. lenges with respect to American music outside of your research areas. I think At the same time, my experiences at studies. One such challenge is method- a broad-based course requirement with UCLA have also opened my eyes to the ological. As the emphasis on popular the options for some specific American different ways the concept of American and non-canonical American music gains studies would be the closest to ideal. music can be positively re-imagined. In ground, what role should music analysis (Musicology doctoral student, ABD) addition to offering graduate seminars play? Structural analytic methods devel- I don’t know that a graduate program on familiar American topics like jazz oped with respect to canonical works can focused specifically on American music and the American musical, faculty in our meet with disaster when applied uncriti- (to the exclusion of other topics/periods/ department also encourage, among other cally to non-canonical sources. And while genres) would necessarily prepare a stu- things, the study of the musical encoun- there have been some very successful dent very well for a career in musicology ters between European missionaries and attempts at combining various forms or ethnomusicology. In our program (the majority of students in the program are Native Americans during the colonial era, of analysis with popular music studies, in fact most interested in specializing in the often ignored music of Canada, the nothing like a coherent body of work or American music), seminars are taught Caribbean, and Latin America, and the set of practices exists. Maybe this is not based on faculty interests and areas of global flows of American musical culture a bad thing, especially if it allows schol- expertise; students are then encouraged via mass mediation. Such perspectives ars to devise responsive, non-totalizing to apply the theoretical, ideological, challenge us to broaden our understand- approaches to analysis to explain what lis- and practical issues raised to their own ing of American music historically, geo- teners and musicians value about specific areas of interest. Coursework provides an graphically, and culturally. The musicolo- sounds. In any case, the issue deserves opportunity to explore a range of topics. gy that I have known as a graduate student more consideration, and hopefully SAM Comprehensive exams and dissertation work can then be tailored to American is increasingly interdisciplinary, and other will help to facilitate the discussion. music interests or other more focused humanities departments on campus are If the above problem has to do with topics. (Musicology doctoral student, coming to perceive musicology as increas- integrating musicology’s legacy in our cur- ABD) ingly relevant. The academic profile of rent endeavors, a second and more vexing the typical graduate student in musicol- issue involves how musicologists might – Survey compiled and summarized by ogy has also evolved significantly. More combine such analytic approaches with Sheryl Kaskowitz than a few of my colleagues arrived with the perspectives of those now outside the Harvard University non-music undergraduate majors, often boundaries of our discipline. Specifically, III. A Student’s Perspective with an emphasis on American topics (I I am troubled by the growth of American came to musicology via ethnic studies), popular music studies (a de facto growth Many of my experiences as a graduate and entering first-years seem just as likely in black music studies) at the same time student in musicology at UCLA point to be versed in postcolonial or psycho- that the enrollment of African American toward positive trends in American music analytic theory as they are to be trained and Latino students at top universities studies. To begin with, I have had numer- ous opportunities to pursue American top- ics from the first year’s core curriculum The Bulletin of the Society for American Music to the dissertation stage. This is because UCLA’s masters’ exams require histori- The Bulletin is published in Winter (January), Spring (May), and Summer (September) by cal breadth, but do not force students to the Society for American Music. Copyright 2006 by the Society for American Music, ISSN spend the majority of their time cram- 0196-7967. ming for exams about the canon. The Editorial Board undergraduate curriculum also reflects Editor ...... Sandra Graham ([email protected]) this academic flexibility, including classes that are now in high demand at campuses Bibliographer...... Joice Waterhouse Gibson ([email protected]) across the country on topics such as Indexer ...... Amy C. Beal ([email protected]) rock ’n’ roll, electronic dance music, the Items for submission should be addressed to Sandra Graham, Music Department, Beatles, blues, jazz, soul, and gender and University of California, Davis, CA 95616, or, preferably, submitted as an attachment to sexuality. These shifts at the graduate and e-mail. Photographs or other graphical materials should be accompanied by captions and undergraduate level are an acknowledg- desired location in the text. Deadlines for submission of materials are 15 December, 15 ment of the importance of popular culture April, and 15 August. in American life, and whether I have par-

52 The Bulletin of the Society for American Music • Vol. XXXII, No. 3 The Bulletin of the Society for American Music • Vol. XXXII, No. 3 53 like UCLA is on the decline. For the cal borders or the nationalist rhetoric of and focus on what a dedicated graduate freshman class of 2006–2007 at UCLA, our leaders, but should instead be heard program might look like. Not just any only 96 of the 4,896 incoming students as signifying a network of relationships program, but an “ideal” one. identify as African American (less than and struggles over power. In this respect, The components that ultimately form 2%). I don’t mean to suggest a simple I was heartened by the program at SAM an ideal program likely exist today. We essentialism: that American music studies 2006 co-hosted by the Center for Black are fortunate to have a number of academ- won’t be valid without proportional racial Music Research, which included papers ic institutions with undeniable strengths representation, or that good scholarship on traditional American music topics as in American music. In our construction has to come from the same communities well as the connections between the music of an archetypical model it would serve that make the music. My own multiracial of black Americans and the religious and us well to consider what makes these identity and research interests force me to musical traditions of the Caribbean, and individual departments prominent. At be cognizant of the limitations of such a a panel on how the idea of “Japanese the same time, since no programs clearly perspective. I do believe, however, that music” functioned in the imaginations of stand above the rest, we must also scru- our discussions of American music will American musicians and laypeople alike tinize what holds them back. We need be richer and more enlightening if we can in the 19th century. I am hopeful that to draw on approaches from disciplines build a critical mass of people of color in SAM will continue to be a society that beyond music and beyond the academy. musicology. As Guthrie P. Ramsey, Jr., welcomes and encourages such intellec- Our task, however, cannot be simply the has observed, while the politics of identity tual freedom, while providing a forum for gathering of extracted elements. For a in the form of LBGTQ studies has found American music scholars to confront the program to be ideal, every facet must be a home in musicology, an analogous challenges that lie ahead. arranged such that it enhances the illumi- African American musicology, let alone – – Loren Kajikawa nation of another – a series of interdepen- an Asian American, Chicano, Latino, or –University of California, dent refractions producing brilliant new Native American one, remains a dream Los Angeles insights for American music. deferred. The various observations presented Looking towards the future, I am IV. Conclusion: Forthcoming by graduate students in this essay reflect many possible routes for the continued encouraged by versions of American One question that looms large is: “Do we development of American music stud- music studies that reject the rubric of need a program dedicated specifically to ies. If any single standpoint should be American music as a homogenous, unified American music?” After all, no single pro- highlighted here, it is the role of gradu- body, held together by the political bor- gram exists for graduate studies in French ate students in imaging an ideal program. ders of the nation. Consequently, an ideal music or 19th-century music. The study of By sharing our current observations and program in American music studies for American music, however, challenges the musings for the future study of American me would question the very need for itself underlying structures of academic music music we do not wish to appear “too to be named “American.” In American departments, straddling the traditional big for our britches.” Rather, we want Studies circles, it has become fashionable divide between historical musicology to underscore what students perceive to call for an end to “American Studies” and ethnomusicology, blurring the lines as important considerations. As young because such a rubric potentially rein- between musical genres, and embracing scholars, we recognize our lack of experi- forces a belief in a homogenous, essential interdisciplinary approaches. Perhaps it ence in the administrative realities of aca- identity that favors sameness and inclu- is too ambitious to ponder a complete demia. Change takes time and may not sion at the expense of conflict and dif- overhaul of the study of music in North always turn out to have been necessary. ference, not to mention that it posits the America, but we should not ignore the However, we also recognize that when it U.S. as the be-all-end-all of America. Josh renegade past of American music studies, is needed, change is possible. (Apparently, Kun’s recent book Audiotopia translates a discipline that has rarely made decisions American music hasn’t always been a this sentiment into a call to action for in accordance with musicological trends. welcome musicological subject?!?) music scholars, imploring us to think of Instead, we have led the way. This may – – Ryan Raul Bañagale American music “in terms of the differ- be why we have so successfully navigated – Harvard University ences it contains, the differences it makes all but the final of Dale Cockrell’s ges- audible, not the unities or harmonies it tational stages. While other area studies can be used to fabricate.” I agree with have taken similar steps, it is difficult to Notes Kun, as does recent UCLA graduate and deny the prominent place of American 1 2006 Wiley Housewright Dissertation This should not be interpreted to mean that the music within the realm of musicology. majority of American music graduate study takes Award-winner Charles Hiroshi Garrett, American music studies, led in great part place in music departments; it is more likely a reflec- whose dissertation “Struggling to Define by members of this society, have gained tion of our methods for announcing the survey, which involved posting to the email lists of the American a Nation: American Music in the 20th- too much forward momentum not to Century” explores the intersection of Musicological Society, Society for American give serious consideration to a dedicated Music, and the Society for Ethnomusicology. Had race, class, and nation in the music of the program in American music. Perhaps the we included a broader range of disciplines in our United States. American music should time has come to move beyond the ques- publicity for the survey, the distribution of academic never be defined simply by our politi- departments among respondents would likely have tion of if a dedicated program is necessary been different.

52 The Bulletin of the Society for American Music • Vol. XXXII, No. 3 The Bulletin of the Society for American Music • Vol. XXXII, No. 3 53 Band Festival and Wind rendition of “Home, Sweet Home.” (For Polley (MN), “The Legacy of Miles further information on the festival and a ‘Mity’ Johnson”; David Reynolds (SD), Conference Report plethora of photos, see www.vintageband “Butte Montana Miners Band”; La Vern festival.org) Rippley (MN), “German Immigrant – Raoul Camus An International Wind Music History Wind Bands: Genesis of the Southern Conference was also a major part of the Minnesota Polka Band”; Ronald Rodman festival. Sponsored by the Historic Brass (MN), “Wind Symphonies of James Society and the International Society Robert Gillette, a Minnesota Composer”; for the Investigation and Promotion of and Clark Wolf (IA), “Aesthetics of Wind Music (IGEB), it gave scholars Historical Performance.” from Europe and America a chance to IGEB’s prestigious Fritz Thelen present new research, discuss matters of Prize, named in honor of a co-founder general interest, make new friends, and of IGEB and awarded periodically to share experiences of importance with the author of an outstanding dissertation those working in the areas of band and in band music research, was presented wind music research. Among the wide to Myron D. Moss for his dissertation

Battle of the bands. (Courtesy of Raoul Camus.) variety of papers were many that related on “Concert Band Music by African- to American music: Christine Beard American Composers: 1927–1998” (NE), “19th Century Piccolo Repertoire”; (Ph.D., University of Michigan, 2000). A grand Vintage Band Music Festival Helmut Brenner (Austria), “Theoretical Manfred Franz Heidler was awarded and an International Wind Music History Remarks on the Roots of Modern Concert Honorary Mention for his dissertation Conference were held in Northfield, Marimbas”; Jeremy S. Brown (Alberta, “Musik in der Bundeswehr: Musikalische Minnesota, 27–31 July 2006. CA), “Serge Garant (Canada) pour le Bewährung zwischen Aufgabe und Organized by Paul Niemisto of saxophone”; Ray Burkhart (CA), “Brass künstlerischem Anspruch” (Ph.D., St. Olaf College, the festival featured Chamber Music in Circuit Chautauqua, Heinrich Heine University, 2005). bands – many in 19th-century dress 1904 to c. 1930”; Raoul Camus (NY), One cannot thank Dr. Niemisto and – performing more than 40 free concerts “An American Militia Band in the 19th his staff, especially Noelle Pierce, suffi- throughout the community. Among the Century: New York’s 7th Regiment ciently for their excellent work in making Minnesota ensembles were the Ameriikan Band”; James Davis (NY), “‘Home, this joint conference and band festival Poijat Finnish Brass Band, the Carlisle Sweet Home’: Civil War Bands and the such an outstanding success! IGEB’s next Town Band, the Chatfield Brass Band, Military Community”; Evan Feldman meeting will be in the Bavarian Woods, the Faribault Bandshell Brass Band, the (VA), “Dvorak’s Relationship with the Germany, and it should be an event not to Lake Wobegon Brass Band, the New Spillville, Iowa Concert Band”; Bruce be missed! Ulm Original German Band, and the Gleason (MN), “Mounted Band of the Sheldon Theatre Brass Band. Other Chicago Black Horse Troop of the 1930s”; organizations included the Brassworks Bernhard Habla (Austria), “Music and Band from San Francisco, the Chestnut Identity, with a Specific Look to Wind Brass Company from Philadelphia, the Music and Wind Instruments”; Bradley Dodworth Saxhorn Band from Michigan, Norman Kent (TX), “Paul Hindemith’s Newberry’s Victorian Cornet Band from Konzertmusik für Blasorchester, op. 41”; Pennsylvania, and Passion des Cuivres, Keith Kinder (Canada), “Healey Willan: an outstanding early music ensemble A Canadianized British Composer”; from Berlin, Germany. One special event Sabine K. Klaus (NC), “The Brass was a “battle of the bands” between Musical Instrument Makers Kaiser & two reconstituted Civil War bands, with Kohler in Cincinnati, Ohio”; Christopher the Confederate 26th North Carolina Knighten (NC), “From the Stadtpfeifer Regiment Band in grey uniforms on Tradition to Gettysburg”; Nola Reed the east bank of the Cannon River, and Knouse (PA), “Music of the 26th North the Union 1st Wisconsin Band in blue Carolina Regimental Band, CSA”; Elisa uniforms on the west bank. The bands Koehler (MD), “Banda Minichini: An alternated popular songs from the Civil Italian Band in America”; Tim Maloney War in a delightful reenactment of similar (MN), “Parody and Pastiche: The Wind battles known to have occurred during Music of Lothar Klein”; Myron Moss the conflict; in this case, however, in a (CT), “Cultural Identification in Band true spirit of harmony and amity, they Music by African American Composers”; joined forces in the center of the bridge Catherine Parsonage (Leeds, England), connecting the two banks for a beautiful “Dixieland Winds in Europe”; Jo Ann

54 The Bulletin of the Society for American Music • Vol. XXXII, No. 3 The Bulletin of the Society for American Music • Vol. XXXII, No. 3 55 FAQs on JSAM continued from page 49 American music and music in America, What’s the difference between “Journal of focusing on its transformations in the of New York. The Graduate Center the Society for American Music” (JSAM) has traditionally been a stronghold in field at home as well as its complex trans- and “American Music”? national interactions. JSAM is dedicated American music studies, with distin- The Journal of the Society for American guished former faculty such as Wiley to supporting scholarship that transcends Music is the official arm of the Society for disciplinary boundaries, cutting across Hitchcock and Carol Oja, and current American Music and will be published by faculty Ora Frischberg Saloman, Joseph historical musicology, music theory, eth- Cambridge University Press beginning nomusicology, cultural theory, identity Straus, Jeff Taylor, and SAM president- in Spring 2007. All SAM members will elect John Graziano. I was extremely studies, and American Studies. Our aim receive a subscription to JSAM, which is to encourage a dialogue as broad-rang- fortunate to be able to work with Carol will be published quarterly. American Oja and Joe Straus, who have had a long- ing as possible in terms of discipline and Music is no longer affiliated with the geography.” lasting impact on my research directions Society. and career. My dissertation focused on The subject areas embraced by the American women composers and feminist Who else works for JSAM? journal include cultural hierarchy; social, analysis, and led to my book Gendering The three reviews editors (Daniel political, economic, and gender issues; Musical Modernism: The Music of Ruth Goldmark, Charles Hiroshi Garrett, race and ethnicity; the impact and role Crawford, Marion Bauer, and Miriam and Ron Pen) along with the entire 19- of the media; sacred, secular, and popular Gideon. In addition to my work in post- member editorial advisory board will contexts and traditions; geographical and tonal theory and 20-century composers, now be affiliated with JSAM. Our superb historical patterns; composers, perform- I’ve published journal articles and book editorial board represents many areas ers, and audiences; historiography and chapters on popular music topics, most of scholarship. Board members review reception history; problems of research, recently in hip-hop studies. For the past articles, offer advice about the journal, analysis, criticism, and aesthetics. seven years, I was Director of the Institute and suggest new additions to the board. How do authors submit articles? for Studies in American Music, a research Evan Rapport worked as assistant edi- In brief, we need one electronic copy institute founded by Wiley Hitchcock in tor in 2005–06, and received his Ph.D. (preferably in Microsoft Word) and three 1971, which is based at Brooklyn College. from CUNY in May. I’d like to thank hard copies. Submissions should be This year I became Professor of Music at him for his excellent work over the past mailed to me care of Columbia’s Music Columbia University and will be teaching year. The current assistant editor is Ben Department (see address at end of article). courses in American music, music theory, Piekut, a doctoral candidate in historical Please consult the complete Guidelines and historical musicology, and will guide musicology at Columbia. I’m happy to for Authors, which are posted on SAM’s dissertations in these areas. have worked with Evan and Ben, both of website. whom have a real knack for editing. When did you become editor, and where Does one have to be a member of SAM to are the editorial offices located? What sorts of submissions have you publish in the journal? This fall marks my first anniversary as received? No, but we hope you will join SAM and editor. American Music moved from Over the past year, the journal has attend our lively annual meetings! England to New York City last summer. received a diverse array of articles that During 2005–06, the journal was housed recognize its established role as a jour- Please walk us through the reviews at the Graduate Center while I was on nal “devoted to all aspects of American process. the faculty. Brooklyn College and the music and music in America.” The final I decide whether the article is appropriate Graduate Center generously provided two issues of volume 24 of American for the journal and potentially publish- support in the form of release time, office Music (2006) contain articles on jazz able. If the article is worth pursuing, I space, and a graduate student assistant. In in the American Bahá’í community, select two expert readers who are drawn 2006, the journal and I moved one subway Adolph Philipp and music in New York’s from the editorial board or who are out- ride uptown to Columbia University’s Little Germany, jazz and masculinity, side senior scholars with expertise in the Department of Music, which will be the the fusion of disco and classical music, topic of the submission. After receiving journal’s host institution for the duration James P. Johnson’s Yamekraw, and Noah the two readers’ reports, I decide whether of my editorship. Columbia is the home Greenberg and the New York Pro Musica, the article should be accepted as is or with of the renowned Center for Jazz Studies as well as reviews of books, recordings, revisions, rejected with a recommendation and Jazz Study Group, and its faculty and multimedia items. JSAM will con- to revise and submit, or rejected outright. includes many prominent scholars of tinue to publish work that explores the How long will it take to receive a publica- American music. The Music Department diversity of American music across a tion decision? warmly welcomes the new journal, and multitude of styles. The changes in the journal’s edito- I’m delighted to report that one of our Does JSAM have a mission statement? rial home over the last year caused some newest editorial board members will be Yes. The mission statement is as follows: delays in the reviews process, as has the my colleague George E. Lewis, Edwin H. “Journal of the Society for American change in publisher. The average time Case Professor of American Music and a Music will deal with all aspects of MacArthur Fellow. continued on page 59

54 The Bulletin of the Society for American Music • Vol. XXXII, No. 3 The Bulletin of the Society for American Music • Vol. XXXII, No. 3 55 WEBSITE REVIEW

Bloggers, as a lot, are not particularly the composer-critic Kyle Gann, who for Critical Thinking known for their sense of balance, discre- nearly two decades penned what was [artsjournal.com/blogs] tion, or reserve; theirs is a permissive and probably the last regular newspaper col- indulgent medium that can fuel the egos umn in the country devoted to experimen- – Brett Boutwell and exacerbate the weaknesses of expe- tal and avant-garde music (or, in his own Champaign, Illinois rienced writers and amateurs alike. Freed neologism, “post-classical” music). Gann, from the constraints of traditional jour- the author of an important book of scholar- Editor’s Note: Website reviews are a new nalism, a few critics flourish in the new ship on American art music during the last feature in the Bulletin. Please send us your format, while many others, desperately century, has since moved into academia, feedback and suggestions for useful sites to crying out for editorial oversight, plunge but he continues to ply his trade online review. into self-reflexive opacity or digress into as a critic (artsjournal.com/postclassic). topics wholly unrelated to their areas of A staunch advocate of New York’s down- Consider, for a moment, the position expertise. Luckily, it seems that critics town (read: anti-serial) tradition, he wears of the professional critic in the age of of classical music and jazz stand the best his biases on his sleeve with the sort of the blog. As column space devoted to chance to profit from the medium, which honesty that makes his blog appealing arts criticism dwindles in daily newspa- can encourage in their writing a dose of reading even when one disagrees with pers, as readership of print media itself partisanship of the sort once common his take on a given composer’s work. declines, a new medium emerges with to the profession, but long since miss- And regardless, his site, like Sandow’s, is the power to democratize the occupation ing from the pages of your newspaper’s concerned less with “criticism” per se (at of opinion making, stripping the profes- toothless Arts & Leisure section. “Let’s least in the narrow sense of concert/CD sion of its membership requirements. have some debate, for God’s sake,” reviewing) than with informed discussion Everyone is handed a soapbox and a writes Greg Sandow on his ArtsJournal on a range of musical issues, not the least megaphone; the playing field is leveled. blog (artsjournal.com/sandow) about the of which is the relationship of art music Above the din, though, the voices of the often staid tone in the New York Times. to broader currents in American culture, best music journalists and commenta- “Let’s disagree with each other, let’s shout musical and otherwise. tors can still be heard: Some are found and scream, let’s stop being all classical Doug Ramsey, a more recent addi- at high-traffic online magazines with music-like and civilized.” tion to the roster at ArtsJournal and, like broad coverage of arts and culture (such Sandow’s background as a widely Gann, an ASCAP–Deems Taylor award as salon.com and slate.com), others at the published music critic, composer, conser- winner is the most experienced journalist web versions of traditional magazines and vatory lecturer, and orchestra consultant under the masthead (artsjournal.com/riff- newspapers with longstanding reputations makes him perhaps the ideal individual tides). The author of two books on jazz for criticism (such as The New Yorker), to write on that most timeworn of topics, and countless columns in Jazz Times and and others, still, at niche sites catering “the future of classical music” – and this, Downbeat, Ramsey is an insider to the to specific corners of the musical world in fact, is the subject of the book he’s musical world his blog inhabits, just as (pitchforkmedia.com for indie rock, for writing in installments through his blog at are Sandow and Gann. As a result, there’s example, or newmusicbox.org for con- ArtsJournal. If you haven’t read Sandow, a weight of knowledge behind his posts, temporary American art music). In many you should: He writes with great sensitiv- and he’s most entertaining when using it of these cases, the constraints imposed ity on a range of subjects that fall beneath to back strong opinions – for example, on writers by their host sites – on sub- the radar of academic talk, yet deserve on the influence of academic training on ject matter, length, tone, and so on – can to be hashed out by those with a profes- the improvisational styles of young per- mirror those of traditional media. Look sional interest in the role of art music in formers. His discussion of straight-ahead elsewhere, though, and you can find American society. In the world of pop jazz is excellent on a number of fronts, veteran music critics and print journalists criticism, it sometimes seems that there although one senses that some vital and embracing that much-publicized 21st-cen- are as many overly qualified, intelligent important music may be falling between tury vehicle of unbridled self-expression, critics as there are musicians for them to the cracks separating Ramsey’s and the personal weblog. This is the case at criticize, but in the classical world there Gann’s blogs. artsjournal.com, a site that provides links are too few commentators with Sandow’s Tim Riley is the only ArtsJournal blog- to current arts-related news and popular- range – or, perhaps more accurately, too ger to deal primarily with popular music press journalism in the form of a daily few of them writing in venues where they (artsjournal.com/riley); a versatile and digest. The site also hosts a variety of arts are permitted to speak their minds. prolific critic, he has contributed reviews blogs, including those of four prominent One of Sandow’s past employers was to a variety of print and online publica- music critics with extensive résumés in New York’s alternative weekly Village tions, written four books, and served as a print media who write on topics pertain- Voice, where he wrote a column during commentator on public radio. Although ing to American music and culture. the 1980s; his successor at the Voice was an expert on Dylan and the Beatles, his

56 The Bulletin of the Society for American Music • Vol. XXXII, No. 3 The Bulletin of the Society for American Music • Vol. XXXII, No. 3 57 writing covers a relatively wide spectrum Symposium on of mainstream rock, touching occasion- ally on jazz and classical music, as well. Improvisation at NYU In his most interesting work, Riley speaks – Annie J. Randall to rock’s cultural politics while writing Bucknell University fluidly about musical sound, construction, and style. (I’ve heard him take other crit- New York University’s 25 March 2006 ics to task for giving too much attention symposium, “Current Free Practices in to song lyrics while neglecting the music Music and Poetry,” offered provocative that frames the words, and likewise rebut and, at times, unsettling perspectives on enthusiasts of jazz who dismiss the craft “the condition of improvisation” (the behind pop music.) His site, however, title of George Lewis’s keynote address). comes across as a less substantive cousin Tilted strongly toward the bicoastal and to the other music blogs at ArtsJournal, academic, with all but three participants although this may be due, ironically, to associated with New York or California his greater comfort with the medium: In institutions, there was nevertheless a rich short, he blogs the way that most bloggers variety of ideas packed into one long day. do, writing very little, cutting-and-pasting Conceived and organized by NYU com- a lot, wandering far off topic, and relying poser Elizabeth Hoffman, with support on a form of shorthand that can verge, at George Lewis, keynote speaker. (Courtesy of Lytle from NYU’s Humanities Council, Music Shaw.) times, on the cryptic. Department, and English Department As a whole, however, the blogs at (Lytle Shaw), the dense program contained ArtsJournal have much to offer SAM University), Jason Stanyek (NYU), and ten papers, four responses to papers, and members. As educators, we may find fod- Emily Wilbourne (NYU). five performances. Speakers, respondents, der for classroom debates in these online Performances by Alvin Curran, Miya and performers included George Lewis discussions; as scholars and performers, Masaoka, Daan Vandewalle, and Mark (Columbia University), Miya Masaoka we might gain insight into issues being Applebaum demonstrated that this group (Bard College), Daan Vandewalle (Royal argued outside the hall of academe. But of improvisers has recognized and solved Conservatory of Ghent), Barrett Watten equally important, as readers, we can what might be called the “problem of (Wayne State University), George Hartley embrace these sites as tools to help pass spectacle” (the visually dull “man with (Ohio University), Alvin Curran (Mills the time when we should be working on laptop syndrome”) and eschews the New College), Mark Applebaum (Stanford something else – the license to procrasti- Age veneers often associated with other University), Dana Reason (University of nate being, of course, the web’s ultimate improvisation. Refreshingly different California, San Diego), Alex Waterman gift to us and its most potent democratiz- from one another, the performances were (Institute for Sonology, the Hague), ing force. linked by extraordinary inventiveness. Erik Ulman (Stanford University), Scott Curran’s raucous piece substituted pre-set Currie (NYU), Annie Randall (Bucknell electronic sequences and concrete sounds for pitches, resulting in a frenzied succes- sion of unexpected, non-keyboard sounds (i.e., glass breaking, a man laughing) emitting from the keyboard’s speakers. Masaoka played two improvisations: one on the koto and the other on an instru- ment she invented, the “laser beam koto,” which allows her to activate electroni- cally altered koto sounds by passing her hands through a field of red laser beams. Mark Applebaum played another newly invented instrument, his “mouseketier,” made of dozens of hardware store items (the most recognizable being a toilet tank’s flotation bulb). Played with sticks, as one might play a minimized drum set, but also at times bowed, the instrument produced scratches, taps, and squeaks modified by live electronics. Rather more Miya Masaoka plays koto improvisation. (Courtesy of Lytle Shaw.) traditional were a semi-improvised piano performance of excerpts from Curran’s

56 The Bulletin of the Society for American Music • Vol. XXXII, No. 3 The Bulletin of the Society for American Music • Vol. XXXII, No. 3 57 Symposium on Improvisation continued from page 56 agency, difference, personal narrative, visatory practices, such as hip hop, were and self-determination; (5) improvisa- noticeably absent – a strange omission “Inner Cities” by Belgian pianist Daan tion fosters socialization, enculturation, given hip hop’s particularly pertinent dual Vandewalle and a trio for synthesizer, cultural formation, and community focus on music and poetry and the prox- viola, and trumpet by NYU graduate stu- development.” Lewis speculated on the imity of its practitioners across the street dents Michael Gallope, Amy Cimini, and reception and possible consequences of in Washington Square. The sense that this Peter Evans. these claims within the academy, using and many other topics remained to be While the symposium’s title implied the recurring motif of Hurricane Katrina explored left many in the large audience a focus on current practices, the pre- to highlight the dangers of institutional suggesting that the symposium on impro- sentations gave a welcome sense of hubris, ossification, and disengagement. visation become an annual event. improvisation’s past, present, and future. Though the symposium was admi- Curran’s “On Spontaneous Music” rably wide-ranging, nonacademic impro- reviewed vividly the early, outsider days of Musica Elettronica Viva (1966–73) and the large-scale, group-improvised “Sound Pools” that provoked the occasional intru- New Antislavery Video Series sion of Italian police, while Lewis, in his keynote address, spoke of improvisation The Antislavery Literature Project (http://antislavery.eserver.org) announces the release being intellectually suspect despite being of a series of online digital videos for education on the history and culture of the struggle housed within academia. Dana Reason’s against slavery in the United States. “The Myth of Absence” gave a withering In February and March 2006, Arizona State University’s Department of English and account of women improvisers’ profes- School of Music cooperated to form an Antislavery Ensemble comprising faculty plus sional marginalization in this proudly graduate and undergraduate students from English, Music, and Nursing. Kay Norton noncanonic area – a disturbing echo of (School of Music) was musical director of the project, which was organized by Jo Marcia Citron’s observations on women Lockard (English Department) and co-produced by Norton, Lockard, and Kristin LaRue in relation to the musical canon (Gender (English Department and School of Music). and the Musical Canon, 1990, 2000). The The ensemble performed and recorded a selection of abolitionist hymns from Jairus contributions of NYU’s graduate students Lincoln’s songbook, Anti-Slavery Melodies: For the Friends of Freedom (For the Anti- offered a tantalizing glimpse of the future: Slavery Society of Hingham, MA: Elijah B. Gill, 1843). The videos present better- and one in which a form of bimusicality lesser-known songs from the music culture that supported the antislavery movement in – an ability to function equally well in the the United States. Video recordings (requiring RealPlayer) and annotations for each song worlds of improvised and nonimprovised are available online at http://antislavery.eserver.org/video/antislaveryensemble/. music – may become a curricular objec- – Kay Norton tive. An explicitly political thread con- nected Lewis’s, Curran’s, and Reason’s papers, reminding the audience of the potentially radical values embedded within improvisation’s practices. This was made especially clear by Lewis, who, quoting the introductory narrative of the 2002 University of California Humanities Research Institute (titled “Improvisation in the Contemporary Performing Arts”), began his keynote address with the fol- lowing claims: “(1) Improvisation medi- ates cross-cultural, transnational and cyberspatial (inter)artistic exchanges that produce new conceptions of identity, history, and the body; (2) improvisation functions as a key element in emerg- ing postcolonial forms of aesthetics and cultural production; (3) improvisative production of meaning and knowledge provides models for new forms of social mobilization that foreground agency, personality, and difference; (4) improvi- sative work symbolizes history, memory,

58 The Bulletin of the Society for American Music • Vol. XXXII, No. 3 The Bulletin of the Society for American Music • Vol. XXXII, No. 3 59 FAQs on JSAM continued from page 55 to receive a decision is 6–7 months, but The Society for American Music I hope to be able to cut down on the The Society for American Music promotes research, educational projects, and the dissemination of infor- response time to 4–5 months. mation concerning all subjects and periods embraced by the field of music in American life. Individual and institutional members receive the quarterly Journal of the Society for American Music, the Bulletin, and the Any tips for new authors? annotated Membership Directory. Direct all inquiries to The Society for American Music, Stephen Foster Please be sure that your submission is Memorial, University of Pittsburgh, Pittsburgh, PA 15260; (412) 624-3031; [email protected]. anonymous. This means not only remov- Officers of the Society ing your name from the title page and President ...... Michael Broyles running headers, but also removing first- President-Elect...... John Graziano person references to your own work and Vice President...... Judith Tick Secretary ...... Jeffrey Magee institution and any mention of where Treasurer...... Paul Laird you’ve presented the paper. Don’t assume Members-at-large ...... Gayle Sherwood Magee, Kay Norton, Vivian Perlis, Howard Pollack, that because the journal has never pub- Wayne Shirley, Larry Starr lished an article on a particular topic or Editor, American Music ...... Ellie Hisama area that we are not interested in it – we Editor, SAM Website ...... Mark Katz Executive Director ...... Mariana Whitmer are eager to publish fresh and imagina- tive scholarship in American music. If Standing Committee Chairs: Finance: Paul Laird; Long-Range Planning: Carol Oja; Development: Deane Root; Honors and Awards: you’re not certain whether an article is Paul Machlin; 2005 Lowens Award (Book): David Brackett; 2005 Lowens Award (Article): Leta Miller; appropriate to send to the journal, send Housewright Dissertation 2005: Elizabeth Crist; Mark Tucker Award: Lisa Barg; Membership: Karen me an inquiry. The cover letter should Bryan; Conference Site Selection: Carol Hess; Nominating: Larry Worster; Public Relations: Vacant; include the title of the paper and your Book Publications Subvention (Johnson Bequest): Vacant; Sight and Sound: Kip Lornell; Silent Auction: contact information, including your e- Dianna Eiland; Publications: Carol Oja; Cultural Diversity: Josephine Wright. mail address. Do not submit your article Appointments and Ad Hoc Committees: ACLS Delegate: Dale Cockrell; Archivist: Susan Koutsky; Committee on Publication of American simultaneously to multiple journals, and Music: Judith McCulloh; SAM History Project, Denise Von Glahn; US-RILM Representative: Denise do not submit more than one article to the Von Glahn; Registered Agent for the District of Columbia: Cyrilla Barr. journal at a time. The musical examples Interest Groups: must be legible. Send articles that are at American Band History: Susan Koutsky; American Music in American Schools and Colleges: Christine least 20 pages of text, double-spaced. de Catanzaro and James V. Worman; Folk and Traditional Music: Ron Pen; Gay/Lesbian/Bisexual/ Make sure that the electronic copy and Transgendered: David Patterson; Gospel and Church Music: Roxanne Reed; Historiography: Michael Pisani; Music of Latin America and the Caribbean: Paul Laird; Musical Biography: Vacant; Musical three hard copies correspond exactly. Theatre: Anna Wheeler Gentry; Popular Music: Philip A. Todd; Research on Gender and American Do a final spell check. Note to graduate Music: Liane Curtis; Research Resources: Alisa Rata; Early American Music: Nicholas Butler; Twentieth students: If you’ve never submitted an Century Music: David Patterson article to a journal, consult with a faculty member or other published author and get Electronic Resources Listserv: [email protected] advice about whether you should submit Website: http://www.american-music.org your article for publication and to how to strengthen it before doing so. Annual Conferences 33rd Annual Conference, Pittsburgh, Pennsylvania What can SAM members look forward to George Boziwick, Program Committee Chair with the change of publisher? Mariana Whitmer, Local Arrangements Chair We’re excited about working with Cambridge, which has a long and dis- tinguished history in publishing. Their Judging from other CUP journals, I think the forefront of this interest in American line of music journals, which includes the design will be quite handsome. music scholarship. We will publish Cambridge Opera Journal, Early Music work by a healthy mix of established History, Eighteenth-century Music, What do you hope to achieve with the new and emerging authors and we welcome Organised Sound, Popular Music, Tempo, journal? writing that considers American music and twentieth-century music, regularly I intend to guide the journal into inter- within its local and global contexts. I plan presents some of the most influential disciplinary and transnational directions. to appoint a greater number of editorial music scholarship published today. CUP’s Research in American music has changed board members from departments outside sponsorship of JSAM affords us valuable considerably since the first issue of of music and from areas outside of North opportunities to expand the journal’s American Music was published in 1983. America while maintaining our commit- scope and to increase our international Over the past two decades, the study of ment to inviting to the board established, readership. Cambridge’s design team is American music has gained a permanent innovative scholars from all geographic currently working on a new cover, which place in college and university curricula, and research areas. The editorial board we hope to display at the AMS/SMT conference programs, and publication and I are actively soliciting articles for the meeting in Los Angeles this November. of books and journals. JSAM will be at journal, and I am planning occasional spe-

58 The Bulletin of the Society for American Music • Vol. XXXII, No. 3 The Bulletin of the Society for American Music • Vol. XXXII, No. 3 5 9 FAQs on JSAM continued from page 58 collection, archive, and/or museum. Society- provided resources allow the consortium of cial issues. Please check SAM’s website centers for American music to share ideas and mailings for future announcements. and generally benefit from enhanced com- The Society for American Music is Any last thoughts before we receive the munication with peers and other Society pleased to welcome these new members: first issue of JSAM? members. There are several ways in which centers By launching this prestigious new journal, Students: SAM is about to embark on an exciting may participate in the consortium: Amy Beth Shapiro, Valley Stream, NY new era. I invite you to submit your best • Attend the consortium’s session Davide Ceriani, Cambridge, MA work to the new journal and to help the at the conference in Pittsburgh, which Helena Walkowiak, Tempe, AZ Society continue to thrive. will feature presentations on topics that Jennifer Noakes, McClure, VA are of importance primarily to centers of Please contact Ellie Hisama with inquiries Eric Johnson, Iowa City, IA American music. (Check the program for about the journal at editor@american- Forest Kinnett, Denton, TX details.) music.org. Mailing address: Ellie M. Kathy Guffey, Cranberry Township, PA • There will be a table in the exhibit Hisama, Professor of Music, Columbia Matthew Somoroff, Durham, NC area at the upcoming SAM/MLA conference University, 2960 Broadway, Dodge 609, Andrew Raffo Dewar, Middletown, CT in Pittsburgh for consortium members (at no MC 1823, New York, NY 10027. Elizabeth Yackley, Frederick, MD cost) to display brochures, announcements, Leo Fishman, Goleta, CA or posters concerning important projects at Erica Argyropoulos, Lawrence, KS SAM Introduces your center, or to simply make attendees Tabitha Heavner, Vernon, CT Consortium of Centers for aware of your center. If you are not attend- Christopher Doll, New York, NY American Music ing the conference, you may contact the Trevor Harvey, Tallahassee, FL Society to arrange for shipping your materi- Katerina Avrekh, Davis, CA — Mariana Whitmer als to the conference. Jonathan Stern, Hartsdale, NY Executive Director, SAM • Include a link to your center on the Kathryn Fenton, London, Ontario Society’s website. Durrell Bowman, North York, Ontario The Society for American Music recently • Subscribe to the consortium introduced an initiative to bring together listserv. Send an email to centers- within a formal organization all of the vari- [email protected] with the Individuals: ous centers for American music. With the word ‘subscribe’ in the subject field. support of the resources of the Society we • Take advantage of discounted John Runowicz, New York, NY hope that this consortium will thrive and advertising in the Society’s Conference Benjamin Bierman, Brooklyn, NY be of benefit to the participating centers. In Program and Annual Membership Robert Carlin, Lexington, NC my position as Program Coordinator at the Directory. Bill Rosar, Long Beach, CA Center for American Music at the University • Purchase the Society’s mailing list Jim Dalton, Salem, MA of Pittsburgh, I have become aware of the at a reduced rate. Robert Hughes, Saint Louis, MO challenges and opportunities inherent in working with this possible combination of For more information contact the Society Spouse: research center, performance venue, special at [email protected]. Maggi Smith-Dalton, Salem, MA

The Music Library Association and the Society for American Music join forces in Pittsburgh 2007

60 The Bulletin of the Society for American Music • Vol. XXXII, No. 3 The Bulletin of the Society for American Music • Vol. XXXII, No. 3 61 NOTES FROM THE NORTH that represent the work accomplished by maintain their own programs, although Canadian University Music Canadian musical academics, from the interdisciplinary sessions abound). Society / La Société de Middle Ages to the present in all genres Canadian musical academe, as repre- musique des of music and all fields within musical sented by CUMS, offers a diverse program universités canadiennes scholarship (musicology, music theory, of papers by musicologists, theorists, and – ethnomusicology, music education, etc.). educators, panels and roundtables on top- – Jim Deaville Contributions on Canadian topics are ics of interest, lecture-recitals by scholar- – Carleton University of course priority items for publication, performers, several concerts (including which has recently led to articles on one by composers), a banquet, and less Editor’s Note: This is the first in a series of music in New France, social identity and formal social activities. This border cross- articles about music scholarship in Canada. musical life in 19th-century Ontario, the ing between music disciplines brings the The winter issue will feature the CBC and chanson in Quebec at the beginning of Canadian University Music Society again Canadian Music Centre. the 20th century, and representations of into comparison with the Society for gender in Barbara Pentland’s Disasters of American Music, although our acceptance In the hopes of satisfying curiosity about the Sun, as well as a special issue entitled of papers outside the realm of Canadian and stimulating interest in music and Music Studies in the New Millennium: music likewise differentiates CUMS from musical scholarship north of the 49th par- Perspectives from Canada (2000). The SAM. The program of the most recent allel, I submit these lines. As President of journal celebrated past accomplishments conference can be found at the website the Canadian University Music Society, with a feature in No. 25/1-2, entitled http://www.cums-smuc.ca/conference/ I have a privileged position from which “The Best of CUMR,” which reprinted an Schedule2006.doc. Also different: Our to observe the vibrant musical activities article by Henri Pousseur (“Schumann ist speakers receive partial reimburse- in post-secondary musical academe in der Dichter”) from 1981. Other notewor- ment of their travel costs from a federal Canada. These comments focus on the thy contributors of the past have included government grant (Social Sciences and activity of CUMS, a society dedicated Karlheinz Stockhausen, Susan McClary, Humanities Research Council of Canada), to promoting Canadian music and music John Shepherd, and Jean-Jacques Nattiez. with student-participant travel funded at a studies. CUMS shares a number of fea- I should note that a grant from the federal higher rate. tures in common with the Society for government supports the publication of As is apparent from these few American Music, as revealed in discus- our journal, which ensures its continued remarks, the two organizations share sion with SAM President-Elect John existence and enables the society to keep mandates to promote the music of their Graziano at our annual meeting at York membership dues and subscriptions at respective nations and publish and present University, Toronto, May of 2006. Other a modest level. The darker side of this research (including musical performances) than its emphasis on serving post-second- subvention is the control that the govern- that cuts across traditional disciplinary ary institutions, our mandate is not so dif- ment can exercise over policies, which boundaries. However, CUMS embraces ferent from that of SAM: currently manifests itself in an inexorable topics outside Canadian music in both 1. to stimulate musical research, perfor- push toward electronic publishing. its publication and its annual meeting. mance, composition, and pedagogy in What may be unique to Canadian A more subtle yet equally important Canadian universities through scholarly academe is the context in which CUMS distinction arises from the structures papers, concerts, symposia, and publica- traditionally gathers: an annual Congress of academe in Canada, which on the tions; of “learned” societies sponsored by the one hand encourage interdisciplinarity 2. to provide a forum for the exchange of Canadian Federation for the Humanities within the humanities and social sciences views and information and the discussion of common problems among musicians in and Social Sciences. In the recognition through the umbrella of the Federation Canadian universities; that Canadian scholarly societies are gen- and on the other provides federal funding 3. to maintain and strengthen the position of erally too small to host their own annual for journals and conferences through music study in Canadian universities. meetings (the 10:1 ratio for the United the activity of SSHRC. As already States to Canada here also applies), the mentioned, the support is there, but it Our activities center on the journal Federation offers a two-week extrava- entails a degree of conformity that may Intersections: A Canadian Journal of ganza at the end of May and beginning be foreign to American scholars. The Music and our annual meeting. Unlike of June, during which over 70 scholarly fact that most Canadian academics also American Music, Intersections pub- societies convene their annual meetings. individually receive research funding lishes contributions on topics outside of The event takes over an entire univer- from that one, central federal agency, Canadian music. Indeed, given the com- sity campus and – importantly – compels with its core set of policies, values, and paratively small number of Canadianists scholars from the various disciplines in priorities, must similarly lend a certain in music, the journal would not survive if the humanities and social sciences to uniformity to music research at post- it relied exclusively on their contributions come together and at least socialize across secondary institutions there, but that is a – our articles cover a variety of topics boundary lines (the constituent societies topic for another time.

60 The Bulletin of the Society for American Music • Vol. XXXII, No. 3 The Bulletin of the Society for American Music • Vol. XXXII, No. 3 61 — Submitted by Paul Charosh

This image, titled “The Amateur Musical that wretched violin could be said to play the piano-forte, in tying the leg of the Party,” was originally printed in the Rural in unison with any thing. Scrape, scrape, right hand beau to the music stool; and, Repository (Hudson, NY) of 23 March scratch, scratch, never reaching the proper having completed his arrangements, he 1844. The author of the accompanying note within a quarter of a tone. Ugh! my ran a pin, nearly up to the head, into the article, “H.C.W.,” notes that the par- teeth are on edge at the bare recollection. other leg. Away flew the stool from under ticipants “reveled in the pathos of ‘We’ve The lady sang the air with them, the two the fair lady, and back flew the gentleman, lived and loved together,” and went mad tenors vamped a second, and the gentle- overturning in his backward flight, desks, outright on hearing ‘The Maniac.’” An man who sat, ditto a bass. As the song instruments, and players. The lady in her excerpt of his description of the scene progressed, one little Miss threw another descent clung frantically to the beau upon pictured here follows. down upon the carpet, and began jumping her left hand, and dragging him down “The gentleman who sang bass took upon her. The little sufferer screamed most with fearful velocity, deposited his head his seat by the piano-forte, for he always lustily, from seemingly leathern lungs, to in that part of the seated gentleman where sat, because, he said, that if he sang the evident delight of the black servant, he supposed his voice to be situated, standing, he drew his breath so low that it who as he quitted the room, grinned hor- knocking him into a distant corner of the injured his constitution! Miss Clementina rible delight at the hideous row. room. What afterward ensued I know not, with a beau on either side presided at the “The discordant tumult had worked for, maddened by the confusion, I rushed piano-forte. The clarionet and the violin, me up to a pitch of agony bordering upon out of the house, in the midst of yells, were arranged in due order. Never shall I frenzy, when Master Tommy put an end to shrieks, groans and hysteric sobs, and forget the exquisite noise of that combina- the affair by a delicious coup de main. He have never entered it since.” tion. The instruments played in unison, if had been for some time engaged, under

62 The Bulletin of the Society for American Music • Vol. XXXII, No. 3 The Bulletin of the Society for American Music • Vol. XXXII, No. 3 63 BULLETIN BOARD

from New England’s past (available on in the much-praised new Encyclopedia Members in the News CD), including psalms of the Pilgrims; of New England (Yale University Press, The Boston-based duo “2” (flutist Peter songs of the American Revolution and 2005). H. Bloom and pianist Mary Jane Rupert) Civil War; African American and Shaker John Michael Runowicz completed his will be touring with a program of Music spirituals, songs, and hymns; and choral doctoral dissertation “Echo and Harmony: by American Women Composers, includ- works by Chadwick, Ives, and other com- Race, Nostalgia and the Doo-Wop/Oldies ing Sonata in A-Minor, op. 34, by Amy posers, can be found at http://www.americ Community” in January 2006 at New Cheney Beach; Kleemation by Elizabeth anmusicpreservation.com/nemusic.htm. York University, Department of Music. Vercoe (2003, inspired by drawings of Sondra Wieland Howe has been appoint- Paul Klee); and music of Marion Bauer ed to the Editorial Board of the Journal of The late Victor Fell Yellin edited a and Katherine Hoover, with concerts this Research in Music Education. She is on recently published volume of solo piano October 2006 in Pennsylvania, Ohio, the planning committee for “Keokuk II,” music titled Tango: An Album of Brazilian West Virginia, and Maryland. SAM a symposium in Keokuk, Iowa, 31 May–2 Dances (Oxford University Press, 2006). member and Amy Beach scholar E. June 2007, celebrating the centennial of The collection contains 21 songs in a Douglas Bomberger, Chair of the Music MENC (National Association for Music variety of dance styles that were origi- Department at Elizabethtown College Education). In July 2006 she gave a paper nally published between 1870 and 1890. (PA), will present the concert on 23 titled “Minnesota Piano Examinations” The repertoire is ideal for piano study October 2006. In other news, Peter’s at the International Society for Music (intermediate to advanced) and concert trio Ensemble Chaconne, with mezzo- Education in Kuala Lumpur, Malaysia. programs. soprano Pamela Dellal, will make their Spivey Hall debut 2 November 2006 Beth E. Levy (University of California, featuring music from their CD, Measure Davis) is spending 2006–07 as a fellow at News from the ACLS: Fellowships, for Measure: The Music of Shakespeare’s the Charles Warren Center for Studies in Fellowships, Fellowships! Plays (Americas Musicworks CD 1594). American History at Harvard University, They will repeat the Shakespeare concert where she is participating in a workshop – Dale Cockrell at several Florida venues December 2006 titled “Cultural Reverberations of Modern Vanderbilt University through February 2007. For information: War” (organized by Carol J. Oja and [email protected] or www.american historian Nancy B. Cott). Her proposed I have been privileged and honored to musicworks.com. research examines “World War and the serve as the SAM delegate to the American Changing Face of Race in American Council of Learned Societies for the last Roger Hall has established the New Music Criticism,” focusing on Boston four years. This organization, which con- England Music Archive (NEMA), during WWI and New York City during sists of 68 constituent learned societies devoted to making recordings available WWII. (including SAM), is the “meta-organiza- of neglected music from the past. Hall tion” for the humanities in the United has devoted 25 years to collecting vari- Ralph P. Locke, Professor of Musicology States devoted to “the advancement of ous kinds of music, especially from the at the Eastman School of Music humanistic studies in all fields of learning 18th and 19th centuries. One lost treasure (University of Rochester) has published in the humanities and the social sciences was the complete music of Edwin Arthur two interviews that he conducted with and the maintenance and strengthening Jones, a highly accomplished 19th-cen- Aaron Copland in the early 1970s: “Aaron of relations among the national societies tury composer from Stoughton, MA, Copland: Two Interviews (1970, 1972) & devoted to such studies.” As such, it tends which Hall found wrapped in paper and Three Letters,” in Flores Musicais: A to set national and international humanis- forgotten at a local historical society. Over Festschrift in Honor of Fernando Laires tic inquiry agendas, lobbies Congress and the years Hall has had some of this music upon His 80th Birthday, 201–17. The other policy organizations on behalf of performed. A highpoint was the 1992 festschrift appeared as a triple issue (vols. the humanities and scholars, and supports world premiere of a magnificent cantata 14–16) of the Journal of the American work in the humanities. for soloists, chorus, orchestra, and organ Liszt Society, guest editor David Butler The annual meeting, usually held in titled Song of Our Saviour, performed by Cannata. Locke’s commentary to the early May, is invariably stimulating. This the Old Stoughton Musical Society (the interviews explores how the aging com- year was specially so as the ACLS met oldest choral society in America). This poser addressed such sensitive issues as jointly with the American Association of was a revision of an earlier work that had the Copland family’s Jewish origins and Universities (11–13 May, Philadelphia) received an honorable mention at a com- Leonard Bernstein’s published plea that and dealt with issues such as “Humanistic petition in Cincinnati, judged by conduc- Copland start composing again. Locke Learning and Citizenship in a Global tor Theodore Thomas. Information about has also published articles on the “Boston Society,” “Reading and Knowing in Jones, as well as a list of “Top 40” works Pops” and on “Patronage [of Music]” the Information Age,” and “The Public

62 The Bulletin of the Society for American Music • Vol. XXXII, No. 3 The Bulletin of the Society for American Music • Vol. XXXII, No. 3 63 Sphere of the Humanities.” We heard postdoctoral scholars or Ph.D. candidates who tried to incorporate American musical from fellow academics, congressmen (the from outside of the Chicago area who gestures in their own work, and music of heads of the Humanities Caucus), deans, have a specific need for Newberry collec- Europe widely sold in colonial America provosts, presidents of universities, tions. Scholars whose principal residence will be featured. All performances by presidents of foundations, and even musi- or place of employment is within the faculty, guests, and student groups will cologists (including the multi-hatted Don Chicago area are not eligible. The tenure respect this theme. Randel, who is now a university president of short-term fellowships varies from The music already planned includes and is soon to be the Mellon Foundation one week to two months. The amount of that of Samuel Barber, Lukas Foss, Scott president). the award is generally $1200 per month. Joplin, Charles Ives, Horatio Parker, I would like to direct the special Applications for long-term fellowships Henry Cowell, Duke Ellington, Amy attention of the members of SAM to the are due 10 January 2007; applications Beach, Robert Starer, James Barnes, ACLS Fellowship program. Next year for most short-term fellowships are due David Gillingham, Claude Smith, William 65 ACLS fellowships will be awarded 1 March 2007. For more information or Billings, John Corigliano, Morton Gould, at especially generous funding levels to download application materials, visit Charles Martin Loeffler, Henry Martin, (assistant professor: $40,000; associate our Website at: http://www.newberry.org/ Peter Schickele, Antonin Dvorak, and professor: $50,000; professor: $65,000). research/felshp/fellowshome.html and Scot tunes set by James Oswald. In In addition, there are the Frederick http://www.newberry.org/nl/research/ addition music by New Paltz graduate Burkhard Fellowships for Recently L3rfellowships.html. Shirley Hoffman Warren, several jazz Tenured Scholars (9 of them; $75,000); If you would like materials sent programs, a performance of American tap the Charles Ryskamp Fellowships for to you by mail, write to Committee on dance, and a lecture on the music of New Advanced Assistant Professors (10: Awards, 60 West Walton Street, Chicago, Orleans are scheduled. Some of the music $65,000); Fellowship for Recent Doctoral IL 60610-3380. If you have questions compiled by Society for American Music Recipients (25: $30,000); Digital about the fellowships program, contact member Gordon Meyers, music from the Innovation Fellowship (5: up to $55,000); [email protected] or (312) 255- Keller/Camus National Tune Index, and and more. These are great fellowships 3666. selections from The Disappointment by with a good applications/recipient ratio, Andrew Barton may also be included. and members of the Society for American Pacific Symphony: “American-Russian The SUNY/New Paltz project’s Music should be working on their pro- Jazz Connection” aim this season is the same as that of posals! (I’m ineligible until I’m off the The Pacific Symphony’s “American- the Society for American Music – “to Council or I’d be editing right now!) Russian Jazz Connection” festival, 21 stimulate the appreciation, performance, Please do check out the website: Sept.–7 Oct., includes a plethora of creation, and study of American music in www.acls.org. Or be in touch with me Gershwin and Stravinsky. The third all its diversity.” Program details may be and I’ll do all I can to help. movement of Stravinsky’s Symphony in found at www.newpaltz.edu/events. – Mary Jane Corry Newberry Library Fellowships in the Three Movements will be accompanied Humanities by a “visual presentation” created by Joseph Horowitz and Peter Bogdanoff The Newberry Library, an independent (to be premiered 21, 22, 24 Sept. and 8 research library in Chicago, Illinois, Oct.) that incorporates newsreel footage, invites applications for its 2007–08 motivated by Stravinsky’s testimony that Fellowships in the Humanities. Newberry this music was inspired by World War Library fellowships support research in II images of tanks and marching troops. residence at the Library. All proposed In effect, it interprets the symphony as research must be appropriate to the col- an “American” work and challenges the lections of the Newberry Library. The fel- notion (e.g., in Stephen Walsh’s recent lowship program rests on the belief that biography) that this is an abstract neoclas- all projects funded by the Newberry bene- sical opus without notable extra-musical fit from engagement both with the materi- baggage. For more information: pacificsy als in the Newberry’s collections and with [email protected]. the lively community of researchers that – Joseph Horowitz gathers around those collections. Long- term residential fellowships are available Concert Series: “Music Made in to postdoctoral scholars for periods of six America” to eleven months. Applicants for postdoc- The concert series directors at SUNY/ toral awards must hold the Ph.D. at the New Paltz have chosen the theme “Music time of application. The stipend for these Made in America” for the 2006–07 fellowships is up to $40,000. Short-term concert season. Music by composers born residential fellowships are intended for in America, music by foreign composers

64 The Bulletin of the Society for American Music • Vol. XXXII, No. 3 The Bulletin of the Society for American Music • Vol. XXXII, No. 3 65 CONFERENCE ANNOUNCEMENTS

CFP: Interdisciplinary Music rials should be attached to the message. 2–5 May 2007 at the Hilton Milwaukee Conference for Graduate Students Authors are responsible for producing City Center, 509 West Wisconsin Avenue. files that will display and print clearly and Completed in 1928, the hotel has been The Michigan Interdisciplinary Music for ensuring that all files and file names returned to its original Art Deco splendor. Society is proud to issue a call for papers do not contain any indication of author- In addition to the usual exciting presenta- to all interested graduate students for the ship. Please submit all paper proposals tions, two very special events have been bi-annual Graduate Music Conference to [email protected] by planned for the conference. to be held on 16–17 February 2007 at Friday, 12 November 2006. Questions On Thursday, 3 May, is a dinner the University of Michigan, Ann Arbor. may be directed to the program chairs, reception at the Irish Fest Center. The Highlights of the conference will include Alyssa Woods center, dedicated to Irish-related activi- a keynote address given by Lawrence or René Daley . ties, including concerts and workshops, is Kramer and a graduate student workshop Further details about the conference and home to the Ward Irish Music Archives. led by Kevin Korsyn. Paper submissions guidelines for applying to the graduate Dedicated to promoting, preserving and in historical musicology, ethnomusicol- student workshop can be found at http: celebrating Irish music in all forms, it is ogy, music theory, and related fields are //www.mich.edu/~mmts/. considered to be the largest public collec- welcomed, and interdisciplinary work is tion of its type in North America. especially encouraged. 2007 ARSC Conference in Milwaukee On Saturday, 5 May, buses roll out Paper proposals should include a to Barrington, Illinois, taking registered Save the date! The Ward Irish Music cover letter, to be included in the body conference attendees to an all-day out- Archives will host the 41st annual ARSC of an e-mail, and an abstract of no more ing at Jasper and Marian Sanfilippo’s Conference in Milwaukee, Wisconsin, than 500 words. All supplementary mate- Victorian Palace, a unique 44,000-square- foot mansion and private museum. On Leonard Bernstein, Boston to Broadway the grounds of the Victorian Palace, the carousel building houses the Eden Palais, The Harvard University Department of Music and the Office for the Arts at Harvard an exquisite European salon carousel present “Leonard Bernstein, Boston to Broadway, 12–14 October 2006. Join noted from 1890. Steam engines from the 1800s scholars, critics, Bernstein family members, and artists such as director Harold Prince, and fairground and dance hall organs are actor/dancer Chita Rivera, music director Rob Fisher, singer Marni Nixon, and chore- also showcased in the structure. For more ographers Kathleen Marshall and Donald Saddler in a celebration of one of the 20th details see: http://www.arsc-audio.org. century’s most illustrious music artists. Events will include concerts, panel discussions, master classes, film screenings, and exhibitions of Bernstein photographs and memora- Music & Health in America bilia. Register by mail or online; for more information and to request a brochure, visit www.bernsteinatharvard.org or call (617) 495-8676. University of Colorado at Boulder announces a multidisciplinary sympo- sium exploring the historical, medical, therapeutic, and spiritual aspects of music’s impact on individual and com- munity health, to be held 28–30 June 2007. Presenters include composers Pauline Oliveros and Ysaye Barnwell; music therapists and scholars Barbara Crowe, Pat Moffitt Cook, Cheryl Dileo, and Laurie Rugenstein; musicologists Greg Barz, Dale Cockrell, Arthur Harvey, Kay Norton, and Guthrie Ramsey; noted specialists Don Campbell, Jim Brody, Jonathan Goldman, and John Galm; as well as select doctors, clinicians, and traditional indigenous healers. Keynotes, � discussion, experiential workshops, and concerts will be offered each day. For more information, call (303) 735-0237 or go to http://ucblibraries.colorado.edu/ Concerts and Symposia at Harvard University October 12 - 14, 2006 amrc/musichealth2007/index.htm.

64 The Bulletin of the Society for American Music • Vol. XXXII, No. 3 The Bulletin of the Society for American Music • Vol. XXXII, No. 3 65 SOME RECENT ARTICLES AND REVIEWS

Compiled by Joice Waterhouse Gibson, The Life and Legacy of the Byrds’ Gene Clark 68; rev. of David A. Carson, Grit, Noise, and University of Colorado at Boulder and Charles L. Granata, Wouldn’t It Be Nice: Revolution: The Birth of Detroit Rock ’n’ Brian Wilson and the Making of the Beach Roll, by Bill Dahl, 70; rev. of Rob Jovanovic, AMERICAN MUSIC RESEARCH Boys’ “Pet Sounds,” by Robert Iannopollo, Nirvana: The Recording Sessions, by Roberta CENTER JOURNAL 245; rev. of Teresa L. Reed, The Holy Profane: Freund Schwartz, 71; rev. of Joseph Tate, (15/2005): Deane L. Root, “The ‘Myth- Religion in Black Popular Music, by Cheryl L. The Music and Art of Radiohead, by Sylvia Story’ of Stephen C. Foster, or Why His True Keyes, 247; rev. of Robert Strom, Miss Peggy Alajaji, 73; rev. of Freddy Fresh, The Rap Story Remains Untold,” 1; David W. Music, Lee: A Career Chronicle, by Ivan Santiago, Records and Oliver Wang, ed., Classical “The Tune GOSPEL TRUMPET: Its Origin and 249; rev. of James L. Dickerson, Mojo Material: The Hip-Hop Album Guide, by Transmission in American Tunebooks,” 19; Triangle: Birthplace of Country, Blues, Jazz Murray Forman, 75; rev. of Jim Dawson, Rock Jonathan Elkus, “Defining the Sousa March: and Rock ’n’ Roll and Gene Santoro, Highway around the Clock: The Record That Started Its Formal and Stylistic Constraints,” 41; rev. 61 Revisited: The Tangled Roots of American the Rock Revolution, by David N. Lewis, 77; of Karl Kroeger and Marie Kroeger, Musica Jazz, Blues, Rock and Country Music, by Dick rev. of Paul Oliver, Broadcasting the Blues: Ecclesiae, or Devotional Harmony [music by Spottswood, 252; rev. of Dick Weissman, Black Blues in the Segregation Era and Jack Daniel Read], by Maxine Fawcett-Yeske, 55. Blues: The Basics, Anna Strong Bourgeois; Palmer, Vernon Dalhart: First Star of County Blueswomen: Profiles of 37 Early Performers, Music, by Edward Komara, 79; rev. of Charles AMERICAN MUSIC TEACHER with an Anthology of Lyrics, 1920-1945; K. Wolfe and James E. Akenson, eds., The (Dec 05-Jan 06): Rev. of Kevin Phinney, and Barry Lee Pearson and Bill McCulloch, Women of Country Music: A Reader, by Gary Souled American: How Black Music Robert Johnson Lost and Found, by Suzanne R. Boye, 83. Transformed White Culture, by Horace Flandreau, 253; rev. of Charles A. Sengstock, Alexander Young, 62. (Apr-May 06): Rev. of Jr., That Toddlin’ Town: Chicago’s White BANJO NEWSLETTER Bill Carpenter, Uncloudy Days: The Gospel Dance Bands and Orchestras, 1900-1950, and (Sept 05): Ian Perry, “Fleckology: ‘Moto Music Encyclopedia, by Myrna Capp, 92. Bruce J. Vermazen, That Moaning Saxophone: Perpetuo,’” 4. (Mar 06): Bob Carlin, “The Banjo: From Africa to America and Beyond,” THE AMERICAN ORGANIST The Six Brown Brothers and the Dawning of a 6. (Mar 06): David Vogels, “Britten in America, Musical Craze, by Deborah L. Gillaspie, 257; rev. of Bob Carlin, Folk, Country, and World Part 2,” 54. BASS PLAYER Music String Bands in the North Carolina (Feb 06): Chris Jisi and Jimmy Leslie, “Back AMERICAN RECORD GUIDE Piedmont, by Steven Weiss, 260; rev. of Norm to the Bayou: Crescent City Bassists on the (Jan-Feb 06): George Loomis, “Hotter Than Cohen, ed., Alan Lomax: Selected Writings New Orleans Style, Scene and Life after Birthday Candles: An Interview with Elliott 1934-1997; Norm Cohen, American Folk Hurricane Katrina,” 44. (Mar 06): Chris Carter,” 4; rev. of Daniel Felsenfeld, Charles Music: A Regional Exploration; and Ed Cray, Jisi, “The Jaco [Pastorius] Continuum: The Ives and Aaron Copland: A Listener’s Guide Ramblin’ Man: The Life and Times of Woody Legacy of the ‘World’s Greatest Bass Player’ and Benjamin Britten and Samuel Barber: Guthrie, by Kip Lornell, 261; rev. of Charles Deepens with a New Edition of the Essential Lives and Music, by Charles H. Parsons, 298. K. Wolfe and Ted Olson, eds., The Bristol Biography,” 41. Sessions: Writings about the Big Band of ASSOCIATION FOR RECORDED Country Music, by Cary Ginell, 263; rev. of BBC MUSIC MAGAZINE SOUND COLLECTIONS JOURNAL Charles K. Wolfe and James E. Akenson, eds., (Aug 05): Paul Tingen, “OK Computer? (Fall 05): Tim Brooks, “How Copyright Law Country Music Goes to War, by Kathleen E. [Radiohead],” 40. (Nov 05): Rev. of Carol J. Affects Reissues of Historic Recordings: A R. Smith, 266. (Sp 06): Rev. of Ruth Benjamin Oja and Judith Tick, eds., Aaron Copland and New Study,” 183; Anji Cornette, Ryan Davis, and Arthur Rosenblatt, Who Sang What on His World, by Bayan Northcott, 100. (Feb 06): Jay Gaidmore, and James Sam, “The Voice Broadway, 1866-1966 and John Stewart, Rev. of Richard Cook, It’s about Time: Miles of Virginia: The WRVA Sound Collection Broadway Musicals, 1943-2004, by Katherine Davis On and Off Record, by Barry Witherden, Preservation Project,” 204; Ava Lawrence, Axtell, 52; rev. of Gerald Majer, The Velvet 108. “Rosetta Reitz: Rediscovering Women in Jazz Lounge: On Late Chicago Jazz, by Robert and Blues,” 214; rev. of Douglas Wolk, Live at Iannapollo, 54; rev. of Jean Pierre Lion, Bix: BLACK MUSIC RESEARCH JOURNAL the Apollo; Dai Griffiths, OK Computer; and The Definitive Biography of a Jazz Legend, (Sp 04): Fred J. Hay, [Editor’s Introduction Colin Meloy, Let It Be, by David N. Lewis; by Cary Ginell, 60; rev. of Nicholas Churchill, to articles on African-American Music of rev. of Jeff Tamarkin, Got a Revolution! The Stan Getz: An Annotated Bibliography Appalachia], 1; Bob Eagle, “Directory of Turbulent Flight of Jefferson Airplane, by and Filmography, with Song and Session African-Appalachian Musicians,” 7; Bob Robert Freund Schwartz, 237; rev. of John Information for Albums, by Noal Cohen, 62; Eagle, “Predicting Black Musical Innovation A. Jackson, A House on Fire: The Rise and rev. of George Cole, The Last Miles: The and Integration: The 1850 Mance Index for Fall of Philadelphia Soul, by Bill Dahl, 239; Music of Miles Davis, 1980-1991 and Steven Appalachia,” 73; Mark Freed, “Preliminary rev. of Louis Cantor, Dewey and Elvis: The F. Pond, Head Hunters: The Making of Jazz’s Bibliography of Best-Known Black Life and Times of a Rock ’n’ Roll Deejay and First Platinum Album, by Robert Iannapollo, Appalachian Musicians,” 91. Ace Collins, Untold Gold: The Stories Behind 64; rev. of Peter J. Levinson, Tommy Dorsey: BLUE SUEDE NEWS Elvis’s #1 Hits, by Bill Dahl, 241; rev. of Irwin Livin’ in A Great Big Way, by Mark Kellog, 67; (Fall 05): Rev. of Arthur Kempton, Boogaloo: Chusid, Songs in the Key of Z: The Curious rev. of Cath Carroll, Never Break the Chain: The Quintessence of American Popular Universe of Outsider Music and Joseph Lanz, Fleetwood Mac and the Making of “Rumours” Music, by Marc Bristol, 28. (Win 05-06): Rev. Vanilla Pop: Sweet Sounds from Frankie and Dave Thompson, Smoke on the Water: The of Tim Brooks, Lost Sounds: Blacks and the Avalon to ABBA, by Timothy C. Fabrizio, 243; Deep Purple Story, by Kevin Holm-Hudson, rev. of John Einarson, Mr. Tambourine Man: Birth of the Recording Industry 1890-1919,

66 The Bulletin of the Society for American Music • Vol. XXXII, No. 3 The Bulletin of the Society for American Music • Vol. XXXII, No. 3 67 by Marc Bristol, 33; rev. of Peter Guralnick, by Sharon L. Hettinger, 14. (Feb 06): Rev. Music Records: A Discography, 1921-1942, by Dream Boogie: The Triumph of Sam Cooke of Susan Hayes, Ross Lee Finney: A Bio- Graeme Kirkham, 99; rev. of Elaine Bradtke, and Charles Cross, Roomful of Mirrors: A Bibliography, by Jeffrey K. Chase, 14. Mike Yates, and Malcolm Taylor, comp./eds., Biography of Jimi Hendrix, by Howard A. (May 06): Rev. of John Ogasapian, Scot L. Dear Companion: Appalachian Traditional DeWitt; 34. (Sp 06): Rev. of David McGee, Huntingon, Len Levasseur, and N. Lee Orr, Songs and Singers from the Cecil Sharp B.B. King: There Is Always One More Time eds., Litterae Organi: Essays in Honor of Collection, by Jerry Epstein, 102. and B.B. King and Dick Waterman, B.B. King: Barbara Owen, by James B. Hartman, 17. Treasures; Dick Weissman, Which Side Are FOLK ROOTS You On? An Inside History of the Folk Music DIRTY LINEN (Dec 05): Rev. of Stephen P. Ledgins, From Revival in America; and Jessica Hundley, (Feb-Mar 06): Rev. of Robert Gordon and Every Stage: Images of America’s Roots Grievous Angel: An Intimate Biography of Bruce Nemerov, eds., Lost Delta Found: Music, by Dave Peabody, 77. Gram Parsons, by Marc Bristol, 32. Rediscovering the Fisk University–Library of Congress Coahoma County Study, 1941-1942, GRAMOPHONE BLUES REVUE by Duck Baker, 87. (Apr-May 06): Rev. of (Aug 05): Rev. of Victoria Etnier Villamil, (Oct-Nov 05): David McGee, “B.B. King: Just David A. Jasen and Gene Jones, Spreadin’ From Johnson’s Kids to Lemonade Opera: for a ‘Thrill,’” 8. (Dec 05-Jan 06): Michael Rhythm Around: Black Popular Songwriters, The American Classical Singer Comes of Age, Cote, “Otis Taylor: Finding Gold in the Heart 1880-1930, by Duck Baker, 93; rev. of Dick by Andrew Farach-Colton, 14. (Nov 05): Rev. of Darkness,” 8; rev. of Buzzy Jackson, A Bad Weissman, Which Side Are You On? An Inside of Ruth Leon, Gershwin, by Peter Dickinson, Woman Feeling Good: Blues and the Women Story of the Folk Music Revival in America, by 101. (Feb 06): Rev. of Carol J. Oja and Judith Who Sing Them, by Kenneth Bays; rev. of Jeffrey R. Lindholm, 93; rev. of Paul Oliver, Tick, eds., Aaron Copland and His World, by Robert Gordon and Bruce Nemerov, eds., Broadcasting the Blues: Black Blues in the Peter Dickinson, 101. Lost Delta Found: Rediscovering the Fisk Segregation Era, by Colleen Moore, 94. (Jun- THE HYMN University–Library of Congress Coahoma Jul 06): Elliott Stephen Cohen, “Etta James: (Win 06): Tina Schneider, “Hymnbook County Study, 1941-1942, by Donald Clarke; All the Way,” 32. Collections of North America: The View in rev. of David McGee, B.B. King: There Is 2006,” 8; William N. McElrath, “Hymns Always One More Time, by Kay Cordtz; rev. EARLY MUSIC AMERICA for Hard Times: Hymnody in the Lives of of B.B. King and Dick Waterman, The B.B. (Sp 06): Julianne Baird and Edward A. Persecuted Colonial Virginia Preachers,” King Treasures, by Scott Stuart, 44. (Feb-Mar Mauger, “B. [Ben] Franklin: A Musical Life: 15; rev. of Albert H. Frank, Companion to 06): Colin Walters, “Clarence Gatemouth Our Founding Father Was Also a Musical the Moravian Book of Worship, by John H. Brown,” 8. Maven,” 26. Giesler, 62. CADENCE ETHNOMUSICOLOGY INDIANA THEORY REVIEW (Apr 06): Rev. of Bill Milkowski, Jaco: (Win 06): Sydney Hutchinson, “Merengue (Sp-Fall 03): Edward D. Latham, “It Ain’t The Extraordinary and Tragic Life of Jaco Típico in Santiago and New York: Necessarily So: Sporting Life’s Triumph in Pastorius; Phillip Freeman, Running the Transnational Regionalism in a Neo- Gershwin’s Porgy and Bess,” 29. Voodoo Down: The Electric Music of Miles Traditional Dominican Music,” 37; Fernando Benadon, “Slicing the Beat: Jazz Eighth- Davis; George Cole, The Last Miles: The INTERNATIONAL ASSOCIATION Notes as Expressive Microrhythm,” 73; rev. Music of Miles Davis, 1980-1991, by Larry OF JAZZ RECORD COLLECTORS of Katherine J. Hagedorn, Divine Utterances: Nai and Jim Santella, 20. (May 06): Rev. of JOURNAL The Performance of Afro-Cuban Santería, Debra DeSalvo, Language of the Blues: From (Aut 05): Rev. of Raymond F. Mitchell, 149. Alcorub to Zuzu, by Bill Donaldson, 24. Feeling My Way: A Discography of the Recordings of Eddie Lang, 1923-1933, by CANADIAN FOLK MUSIC BULLETIN FANFARE Richard Johnson, 54. (Fall 05): Mary E. Piercey, “Gender Relations (Sept-Oct 05): Paul Ingram, “A Song (and a Singer) for Anything: Gerald Finley, Charles in Inuit Drum Dances,” 1; rev. of Pete Seeger INTERNATIONAL JOURNAL OF Ives, and a Framework for Exploration,” 20. and Paul D. Jacobs, Pete Seeger’s Storytelling MUSIC EDUCATION (Jan-Feb 06): James Reel, “Johnny Reinhard Book, by Robert Rodriguez, 31. (Apr 06): David Harnish and Isabel Barbara Reflects on Microtonality, Intervals of Time O’Hagin, “Music as a Cultural Identity: A CHORAL JOURNAL and Tuning, and More,” 33. Case Study of Latino Musicians Negotiating (Nov 05): Melissa Morgan, “‘I Can Tell the Tradition and Innovation in Northwest Ohio,” World’: Moses George Hogan: His Life, His FILM SCORE MONTHLY 56. Song,” 58. (Sept-Oct 05): Mark Trachtman, “A Voyage of Discovery: Tracking Down the Music for JAZZ JOURNAL INTERNATIONAL CLAVIER the National Geographic Television Specials,” (Nov 05): Rev. of Charles A. Sengstock, Jr., (Nov 05): Rev. of Daniel Felsenfeld, Ives 16; Bruce R. Marshall, “[Miami] Vice’s That Toddlin’ Town: Chicago’s White Dance and Copland: A Listener’s Guide, by Robert Verses: Getting Inside the ‘Songs-as-Score’ Bands and Orchestras, 1900-1950, by Bert Drumm, 30. Stylings of the Groundbreaking TV Show,” Whyatt, 15. (Dec 05): Rev. of Brian Priestley, 19; Kyle Renick, “The Poet of Paranoia: Chasin’ the Bird: The Life and Legacy of COMPUTER MUSIC JOURNAL An Appreciation of the Late, Great Michael Charlie Parker, by Mark Gardner, 16; rev. of (Win 05): Rev. of Trevor Pinch and Frank Small,” 30. Trocco, Analog Days: The Invention and Donald Maggin, Dizzy: The Life and Times of Impact of the Moog Synthesizer, by James FLUTE TALK John Birks Gillespie, by Dizzy Palmer, 16; rev. Harley, 82. (Oct 05): Claudia Anderson, “The Flute in of Peter Ind, Jazz Visions: Lennie Tristano and Early America,” 22. His Legacy, by Simon Adams, 17. (Feb 06): THE DIAPASON Rev. of David Bradbury, Duke Ellington: Life (Nov 05): Rev. of Ellen Grolman Schlegel, FOLK MUSIC JOURNAL and Times, by Vic Bellerby, 17. Emma Lou Diemer: A Bio-Bibliography, (9/1 2006): Rev. of Tony Russell, Country

66 The Bulletin of the Society for American Music • Vol. XXXII, No. 3 The Bulletin of the Society for American Music • Vol. XXXII, No. 3 67 JAZZFORSCHUNG Kembrew McLeod, Freedom of Expression Guevara, “Narratives of Racial Authority in (37/2005): Franz Krieger, “Herbie Hancocks ®: Overzealous Copyright Bozos and Other Cuban Popular Music,” 255; Reebee Garofalo, Harmonik in ‘The Sorcerer,’” 9; Gernot Enemies of Creativity, by Eric Anderson, 152; “Who Is the World? Reflections on Music and Blume, “Pan-Musical Cross-Over: Keith rev. of Phil Lesh, Searching for the Sound: My Politics Twenty Years after Live Aid,” 324; Jarrett’s Multi-Instrumentalism,” 81; Gavin Life with the Grateful Dead, by Philip Booth, rev. of Kandia Crazy Horse, ed., Rip It Up: The Franklin and Frank Murphy, “Woody Shaw’s 159; rev. of Juan Carlos Quintero Herencia, La Black Experience in Rock ’n’ Roll, by Michael Five Versions of ‘The Moontrane,’” 113; máquina de la salsa: Tránsitos del sabor, by J. Kramer, 352; rev. of Joseph G. Schloss, Frank Murphy, “‘Brick Top’ and Her Circle: Rosa E. Carrasquillo, 161; rev. of John Bush Making Beats: The Art of Sample-Based Hip- Stéphane Grappelli and the Hot Club Quintet,” Jones, Our Musicals, Ourselves: A Social Hop, by Felicia Miyakawa, 361; rev. of René 123; Nanette de Jong, “‘You Can’t Kill an History of the American Musical Theatre, by T.A. Lysloff and Leslie C. Gay, Jr., eds., Music Organization’: Musicians’ Collectives and Donald P. Gagnon, 162; rev. of Garvin James and Technoculture, by Cristy Turner, 365; the Black Power Paradigm,” 133; Maximilian Campbell, Music and the Making of a New rev. of Stacy Thompson, Punk Productions: Hendler, “Wann wurde der Rap ‘erfunden’?” South, by Charlotte A. Haller, 165. (Apr 06): Unfinished Business, by Kenneth R. Culton 145; Henry Martin and Robert Wason, Anahi Viladrich, “Neither Virgins nor Whores: and Benjamin Holtzman, 368; rev. of Holly “Constructing a Post-Modern-Jazz Pedagogy,” Tango Lyrics and Gender Representations in Kruse, Site and Sound: Understanding 163; Josef Ferstl-Pilaj, Gerhard Friedrich, the Tango World,” 272. Independent Music Scenes, by Alan O’Connor, Leopold Mathelitsch, Gerhard Wanker, and 371. (Apr 06): Ian Inglis, “The Politics of Walter Habermann, “Jazz-Gesang ver- JOURNAL OF POPULAR MUSIC Nomenclature,” 3; Susan Fast and Karen sus Klassik: Cross-over-Training mittels STUDIES Pegley, “Music and Canadian Nationhood Computer-Feedback,” 179. (Apr 05): John Richardson, “‘The Digital Post 9/11: An Analysis of Music without Won’t Let Me Go’: Constructions of the Borders: Live,” 18; John Dougan, “Objects JOURNAL OF AMERICAN CULTURE Virtual and the Real in Gorillaz’ Clint of Desire: Canon Formation and Blues Record (Dec 05): Rev. of David Lonergan, Hit Eastwood,” 1; Molly Geidel, “Supermaxes, Collecting,” 40; Marybeth Hamilton, “On the Records, 1950-1975, by Kathy Merlock Stripmines, and Hip-Hop,” 67; rev. of Arthur Trail of Negro Folk Songs,” 66; rev. of Mark Jackson, 444. (Mar 06): Rev. of Karlene Faith, Knight, Disintegrating the Musical: Black Katz, Capturing Sound: How Technology Has Madonna: Bawdy and Soul, by Marshall W. Performance and American Musical Film and Changed Music, by Joel Dinerstein, 102; rev. Fishwick, 75; rev. of William Echard, Neil Andrea Most, Making Americans: Jews and of Lawrence Gushee, Pioneers of Jazz: The Young and the Poetics of Energy, by Kathy the Broadway Musical, by Desirée J. Garcia, Story of the Creole Band, by Frank Salamone, Merlock Jackson, 79. 84; rev. of Peter Stanfield, Horse Opera: The 105; rev. of Anahid Kassabian, Hearing Film: Strange History of the 1930s Singing Cowboy, JOURNAL OF AMERICAN FOLKLORE Tracking Identifications in Contemporary by Amy Louise Wood, 91; rev. of Natalie J. Hollywood Film Music and Pamela Wojcik (Win 06): Rev. of Ronald D. Cohen, Rainbow Purcell, Death Metal Music: The Passion and Quest: The Folk Music Revival and American and Arthur Knight, eds., Soundtrack Available: Politics of a Subculture, by Shawn Wedel, Essays on Film and Popular Music, by Barry Society, 1940-1970, by Jack Shortlidge, 129. 94; rev. of Steve Jones, ed., Pop Music and (Sp 06): Rev. of David Atkinson, The English Salmon, 107. (Aug 06): Susan Thomas, “Did the Press, by Jonathan Silverman, 98. (Aug Nobody Pass the Girls the Guitar? Queer Traditional Ballad: Theory, Method, and 05): John Kimsey, “‘One Parchman Farm or Practice and Ian Russell and David Atkinson, Appropriations in Contemporary Cuban Another’: Mose Allison, Irony and Racial Popular Song,” 124; Tim Lawrence, “‘I eds., Folk Song: Tradition, Revival, and Re- Formation,” 105; Ulrich Adelt, “‘Hard to Say Creation, by Gerald Porter, 248; rev. of Daniel Want to See All My Friends At Once’: Arthur the Meaning’: Neil Young’s Enigmatic Songs Russell and the Queering of Gay Disco,” 144; W. Patterson, ed., The Shaker Spiritual, by of the 1970s,” 162; John Mihelich and John John B. Wolford, 250. Francesca Brittan, “Women Who ‘Do Elvis’: Papineau, “Parrotheads in Margaritaville: Fan Authenticity, Masculinity, and Masquerade,” JOURNAL OF MUSICOLOGY Practice, Oppositional Culture, and Embedded 167; Fred Maus, “Intimacy and Distance: On (Sum 05): Olivia A. Bloechl, “The Pedagogy Cultural Resistance in Buffett Fandom,” 175; Stipe’s Queerness,” 191; J.D. Doyle, “Queer of Polyphony in Gabriel Sagard’s Histoire du rev. of Rich Cohen, Machers and Rockers: Music Radio: Entertainment, Education, and Canada,” 365. Chess Records and the Business of Rock and Activism,” 215; Mitchell Morris, “Stories Roll, by Robert Pruter, 203; rev. of Allan Coming Out,” 220; rev. of Nadine Hubbs, The JOURNAL OF POPULAR CULTURE Moore, ed., The Cambridge Companion to Queer Composition of America’s Sound: Gay (Nov 05): Rev. of Imani Perry, Prophets of the Blues and Gospel Music and Russ Cheatham, Modernists, American Music, and National Hood: The Poetics and Politics of Hip Hop, by Bad Boy of Gospel Music: The Calvin Newton Identity, by Zoe Sherman, 241; rev. of Ronald James Bryant, 1099; rev. of André Millard, ed., Story, by Emmett G. Price, III, 205; rev. of D. Cohen, Alan Lomax: Selected Writings, The Electric Guitar: A History of an American Raquel Z. Rivera, New York Ricans from the 1934-1997, by Michael T. Bertrand, 245. Icon, by Christopher C. Lovett, 1120; rev. of Hip Hop Zone, by Joseph Schloss, 210; rev. Bruce Vermazen, That Moaning Saxophone: of Maurice Peress, Dvořák to Duke Ellington: JOURNAL OF RESEARCH IN MUSIC The Six Brown Brothers and the Dawning A Conductor Explores America’s Music EDUCATION of a Musical Craze, by Thomas O’Grady, and Its African American Roots, by Edward (Win 05): Shelly Cooper, “Marguerite V. 1123; rev. of William Ruhlmann, Breaking Green, 213; rev. of Ian Christe, Sound of the Hood and Music Education Radio Broadcasts Records: 100 Years of Hits, by Robert E. Weir, Beast: The Complete Headbanging History of in Rural Montana (1937-39),” 295. 1130. (Feb 06): Kate McCarthy, “Not Pretty Heavy Metal, by Mathew Haskins, 215; rev. Girls? Sexuality, Spirituality, and Gender of Magnificent Montague with Bob Baker, JOURNAL OF SINGING Construction in Women’s Rock Music,” 69; Burn, Baby! Burn! The Autobiography of (Mar-Apr 06): Rev. of Larry Starr, The Raymond M. Weinstein, “Occupation G.I. Magnificent Montague, by Gavin James Dickinson Songs of Aaron Copland: CMS Blues: Postwar Germany During and After Campbell, 217. (Dec 05): Leonardo Acosta, Sourcebooks in American Music No. 1, Elvis Presley’s Tour,” 126; rev. of Stacy Daniel Whitesell, and Raúl Fernández, by Debra Greschner, 483; rev. of Armand Thompson, Punk Productions: Unfinished “On Generic Complexes and Other Topics Ambrosini, Ned Rorem’s Song Cycle “Ariel,” Business, by Ullrich Adelt, 150; rev. of in Cuban Popular Music,” 227; Gema R. by Debra Breschner, 484.

68 The Bulletin of the Society for American Music • Vol. XXXII, No. 3 The Bulletin of the Society for American Music • Vol. XXXII, No. 3 69 JOURNAL OF THE AMERICAN “Buddy Guy Was All M-U-S-I-C,” 14; rev. MUSIC THEORY SPECTRUM MUSICAL INSTRUMENT SOCIETY of Jeannie Cheatham, Meet Me With Your (Sp 06): John McGinness, “Has Modernist (2003): Robert E. Eliason, “Rhodolph Hall: Black Drawers On: My Life in Music, by Lee Criticism Failed Charles Ives?” [essay], 99; Nineteenth-Century Keyed Bugle, Cornet, Hildebrand, 56; rev. of David McGee, B.B. Shaugn O’Donnell, “What to Listen for in and Clarinet Soloist,” 5. (30/2004): Jayson King: There Is Always One More Time and Rock: A Stylistic Analysis,” 132. Richard Kostelanetz, The B.B. King Reader: Dobney, “The Creation of the Trap Set and MUSICAL OPINION Its Development before 1920,” 24; William 6 Decades of Commentary, by Evan Haga, 56; rev. of Paul Garon and Gene Tomko, What’s (Nov-Dec 05): Christopher Monk, “Philip E. Hettrick, “Harry Edward Freund’s Great Glass,” 14; rev. of Carol J. Oja and Judith Square-Piano Bonfire: A Tale Told in the the Use of Walking If There’s a Freight Train Going Your Way? Black Hoboes and Their Tick (eds.), Aaron Copland and His World, by Press,” 57; rev. of Paul M. Gifford, The Robert Matthew-Walker, 60. Hammered Dulcimer in America: A History, Songs, by Scott Barretta, 57; rev. of Robert by Nancy Groce, 172; rev. of Dennis G. Springer, ed., Nobody Knows Where the Blues THE MUSICAL QUARTERLY Waring, Manufacturing the Muse: Estey Come From: Lyrics and History, by Scott (Sum 04): Benjamin Givan, “Duets for One: Organs and Consumer Culture in Victorian Barretta, 57; rev. of Elizabeth Pepin and Lewis Louis Armstrong’s Vocal Recordings,” 188; America, by Darcy Kuronen, 175. (31/2005): Watts, Harlem of the West: The San Francisco Carl Leafstedt, “Asheville, Winter of 1943-44: Robert E. Eliason, “Bugles Beyond Compare: Fillmore Jazz Era, by Lee Hildebrand, 58. Béla Bartók and North Carolina,” 219. (Fall The Presentation E-Flat Keyed Bugle in THE MISSISSIPPI RAG 04): Kara Anne Gardner, “American Musics: Mid-Nineteenth-Century America,” 67; (Oct 05): Murray Bishoff, “Sedalia in the Edward MacDowell, Antimodernism, and Darcy Kuronen, “James A. Bazin and the 1890s: Racism in Missouri,” 18; rev. of W. ‘Playing Indian’ in the Indian Suite,” 370. Development of Free-Reed Instruments in Royal Stokes, Growing Up With Jazz, 38. (Nov America,” 133; rev. of Philip F. Gura, C.F. NOTES: QUARTERLY JOURNAL OF 05): Peter J. Levinson, “Music, Music, Music: THE MUSIC LIBRARY ASSOC. Martin and His Guitars, 1796-1873, by Darcy Tommy Dorsey, Livin’ in a Great Big Way Kuronen, 187. (Dec 05): Carol June Bradley, “William [book excerpt],” 1. (Feb 06): John Tumpak, Lichtenwanger, Reference Librarian,” 299; JOURNAL OF THE AMERICAN “Dolores O’Neill: The Big Band Era’s Best- Tammy Ravas, “‘The Initial Plunge,’ ‘The MUSICOLOGICAL SOCIETY Kept Secret,” 1; Lew Shaw, “Funded Jazz Soused Period,’ and ‘Contrition’? Moving (Fall 05): Rev. of Sophie Fuller and Lloyd History Series Offered to Societies, Libraries,” Towards a Style of Peter Schickele’s Funny Whitesell, eds., Queer Episodes in Music and 30; rev. of Lawrence Gushee, Pioneers of Music in His P.D.Q. Bach Works,” 322; rev. Modern Identity, by Martha Mockus, 730; rev. Jazz: The Story of the Creole Band, by Jim of Jennifer C. Post, Music in Rural New of Christopher Allen Reynolds, Motives for Leigh, 35; rev. of Pete Clute, Jim Goggin, and England: Family and Community Life, 1870- Allusion: Context and Content in Nineteenth- Rev. Cecil E. Clute, Jr., Meet Me at McGoon’s, 1940, by Andrew R. Gatto, 369; rev. of John Century Music and David Metzer, Quotation by Jim Leigh, 35. (Mar 06): Rev. of Peter J. Luther Adams, Winter Music: Composing and Cultural Meaning in Twentieth-Century Levinson, Tommy Dorsey: Livin’ in a Great the North, by Denise Von Glahn, 378; rev. Music, by Raymond Knapp, 736. (Sp 06): Big Way, by David Sager, 20. of Deborah Anne Wong, Speak It Louder: Leta E. Miller, “Henry Cowell and John Cage: MUSIC AND LETTERS Asian Americans Making Music, by Hiromi Intersections and Influences, 1933-1941,” 47; (Aug 05): Rev. of Nicholas Temperley, Bound Lorraine Sakata, 391; rev. of Nadine Hubbs, rev. of Martin Cloonan and Reebee Garofalo, for America: Three British Composers, by The Queer Composition of America’s Sound: eds., Policing Pop, by Stephen M. Buhler, Michael Hurd, 482; rev. of Larry Starr, The Gay Modernists, American Music, and 227. Dickinson Songs of Aaron Copland, by National Identity, by Renée McBride, 395; Elizabeth Bergman Crist, 507; rev. of Larry rev. of Michael Meckna, Satchmo: The Louis LIVING BLUES Armstrong Encyclopedia, by Sebastian Derry, (Sept-Oct 05): Rev. of John W. Work, Lewis David Smith, Elvis Costello, Joni Mitchell, and the Torch Song Tradition, by Lloyd 397; rev. of T.J. Pinch and Frank Trocco, Wade Jones, and Samuel C. Adams, Jr., Analog Days: The Invention and Impact of Lost Delta Found: Rediscovering the Fisk Whitesell, 527. (Nov 05): Rev. of John Luther Adams, Winter Music: Composing the North, the Moog Synthesizer, by Charles Menoche, University–Library of Congress Coahoma 404; rev. of Geoffrey P. Hull, The Recording County Study, 1941-1942, by Scott Barretta, by Daniel M. Grimley, 669. (Jan 06): Bjorn Heile, “Recent Approaches to Experimental Industry, by Michael J. Bonnard, 406; rev. 80; rev. of Elijah Wald, The Mayor of of John Richard Bolig, The Victor Red Seal MacDougal Street and Dave Von Ronk, The Music Theatre and Contemporary Opera [review article],” 72; rev. of Michael Broyles, Discography, Volume 1: Single-Sided Series Mayor of MacDougal Street: Rarities 1957- (1903-1925), by Gary A. Galo, 407. (Mar 1969, by Justin O’Brien, 81. (Nov-Dec 05): Mavericks and Other Traditions in American Music, by Peter Dickinson, 120; rev. of 06): Kathryn Lowerre, “Some Uncataloged Rev. of Peter Guralnick, Dream Boogie: The Musical Resources in the Harvard Theatre Triumph of Sam Cooke and B.B. King and Penny M. Von Eschen, Satchmo Blows Up the World: Jazz Ambassadors Play the Cold Collection with a Handlist for the Bound Music Dick Waterman, The B.B. King Treasures, Volumes,” 537; John Shepard, “The Legacy by Lee Hildebrand, 48; rev. of Will Romano, War, by Mervyn Cooke, 161. (May 06): Rev. of Inge Kovacs, Wege zum musikalischen of Carleton Sprague Smith: Pan-American Incurable Blues: The Troubles and Triumph of Holdings in the Music Division of the New Blues Legend Hubert Smith, by Justin O’Brien, Strukturalismus: René Leibowitz, Pierre Boulez, John Cage und die Webern-Rezeption York Public Library for the Performing Arts,” 49. (Jan-Feb 06): Interviews with Hurricane 621; rev. of Joseph Horowitz, Classical Music Katrina musician-survivors: “Katrina and in Paris um 1950; Michael Custodis, Die soziale Isolation der neuen Musik: zum in America: A History of Its Rise and Fall, by the Blues: In Their Own Words,” 10-27; Ron Wiecki, 700; rev. of Tracey E.W. Laird, rev. of Barry Lee Pearson, Jook Right On: Kölner Musikleben nach 1945; Sabine Meine, ed., Reihe und System: Signaturen des 20. Louisiana Hayride: Radio and Roots Music Blues Stories and Blues Storytellers, by Scott Along the Red River, by Gavin Douglas, Barretta, 64; rev. of Bill Carpenter, Uncloudy Jahrhunderts. Symposiumsbericht, by M.J. Grant, 346. 704. (Jun 06): Linda Dempf, “The Woman’s Days: The Gospel Music Encyclopedia, by Lee Symphony Orchestra of Chicago,” 857; rev. Hildebrand, 64. (Mar-Apr 06): David Whiteis, of Laurdella Foulkes-Levy and Burt Jerome

68 The Bulletin of the Society for American Music • Vol. XXXII, No. 3 The Bulletin of the Society for American Music • Vol. XXXII, No. 3 69 Levy, Journeys through the Life and Music The Culture and Commerce of Gangsta Rap, of Nancy Van de Vate, by Catherine Dixon, PIANO TODAY by Tom Perchard, 459; rev. of Sheila Whiteley, 978; rev. of John C. Tibbetts, Composers in (Win 06): Todd Coolman, “Herbie Hancock Andy Bennett and Stan Hawkins, eds., Music, the Movies: Studies in Musical Biography, by and the Miles Davis Rhythm Section,” 30. Space, and Place: Popular Music and Cultural Steven York, 979; rev. of Mark Baszak, ed., Identity, by June Maxwell, 463. (Jan 06): Ralf POPULAR MUSIC Such Sweet Thunder: Views on Black American von Appen and André Doehring, “Nevermind (May 05): John Street, “Introduction to Music, by Steven Pond, 983; rev. of Nicholas The Beatles, Here’s Exile 61 and Nico: ‘The ‘Literature and Music’ [special issue],” 163; E. Tawa, Supremely American: Popular Song Top 100 Records of All Time’: A Canon of Karen Collins, “Dead Channel Surfing: in the 20th Century: Styles and Singers and Pop and Rock Albums from a Sociological The Commonalities between Cyberpunk What They Said About America, by Laura L. and an Aesthetic Perspective,” 21; Mary R. Literature and Industrial Music,” 165; Ayana Moody, 986; rev. of Bridget Falconer-Salkeld, Watson and N. Anand, “Award Ceremony Smith, “Blues, Criticism, and the Signifying The MacDowell Colony: A Musical History as an Arbiter of Commerce and Canon in Trickster,” 179; Colin Symes, “From of America’s Premier Artists’ Community, by the Popular Music Industry,” 41; Katherine Tomorrow’s Eve to High Fidelity: Novel Robin Rausch, 989; rev. of Robert Gordon Skinner, “‘Must Be Born Again’: Resurrecting Responses to the Gramophone in Twentieth- and Bruce Nemerov, eds., Lost Delta Found: the Anthology of American Folk Music,” 57; Century Literature,” 193; Dave Laing, “31 Rediscovering the Fisk University–Library of Matthew Bannister, “‘Loaded’: Indie Guitar Songs and Nick Hornsby’s Pop Ideology,” Congress Coahoma County Study, 1941-1942, Rock, Canonism, White Masculinities,” 77; 269; Felicia M. Miyakawa, “‘Jazz at Night and by Edward M. Komara, 991. Michèle Ollivier, “Snobs and quétaines: the Classics in the Morning’: Musical Double- Prestige and Boundaries in Popular Music Consciousness in Short Fiction by Langston THE OLD-TIME HERALD in Quebec,” 97; rev. of Deborah Pacini Hughes,” 273; David Hopkins, “To Be or Not (Fall 05): Peter Szego, “Master Juba and the Hernandez, Héctor Fernández L’Hoeste and to Bop: Jack Kerouac’s On the Road and the African Roots of American Step Dance,” 10; Eric Zolov, eds., Rockin’ Las Américas: The Culture of Bebop and Rhythm ’n’ Blues,” 279; Emily Miller, “Hipsters, Punk Rock, and the Global Politics of Rock in Latin/o America, Thomas Swiss, “That’s Me in the Spotlight: Future of Old-Time Music,” 14; Robert D. by Motti Regev, 131; rev. of David Walsh Rock Autobiographies,” 287; rev. of Annette Reed, “Banjo Dick: Black Banjo Songster of and Len Platt, Musical Theater and American Davison, Hollywood Theory, Non-Hollywood the Wild West,” 18; rev. of Kevin Donleavy, Culture, by John Street, 133; rev. of Jeffrey J. Practice: Cinema Soundtracks in the 1980s Strings of Life: Conversations with Old-Time Lange, Smile When You Call Me a Hillbilly: and 1990s, by Peter Franklin, 295; rev. of Musicians from Virginia and North Carolina, Country Music’s Struggle for Respectability, Philip Tagg and Bob Clarida, Ten Little Tunes: by Pete Peterson, 54; rev. of Joseph Weidlich, 1939-1954, by Joli Jensen, 134; rev. of Towards a Musicology of the Mass Media, by The Early Minstrel Banjo: Technique and Santiago Fouz-Hernández and Freya Jarman- Allan Moore, 298; rev. of Michael Meckna, Repertoire, by Art Rosenbaum, 55. (Win Ivens, eds., Madonna’s Drowned World: New Satchmo: The Louis Armstrong Encyclopedia, 05): Dan Margolies, “Ladder-Braced Guitars Approaches to Her Cultural Transformations, by Paul Carr, 304. (Oct 05): Eric Weisbard, and the Enduring Mysteries of the Old-Time 1983-2003, by Laura Mitchell, 136; rev. of “These Magic Moments: Pop, Writing, and the Sound,” 11; rev. of Gavin James Campbell, Joseph G. Schloss, Making Beats: The Art of Little Stuff,” 307; Devin McKinney, “Cruising Music and the Making of a New South, by Sample-Based Hip-Hop, by Philip Ewell, 138; a Road to Nowhere: Mechanics and Mysteries Gregg Kimball, 50. (Feb-Mar 06): Rev. of rev. of Paul Williams, Bob Dylan, Performing of the Pop Moment,” 311; Gayle Wald, Charles K. Wolfe and Ted Olson, eds., The Artist, 1986-1990 and Beyond: Mind Out of “‘Have a Little Talk’: Listening to the B-Side Bristol Sessions: Writings about the Big Bang Time, by Keith Negus, 140. (May 06): Samuel of History,” 323; Robert Fink, “The Story of of Country Music, by Jon Pankake and Marcia Barrett, “Kind of Blue and the Economy of ORCH5, or, The Classical Ghost in the Hip- Pankake, 56. (Apr-May 06): Peter Szego, Modal Jazz,” 185; Matt Brennan, “The Rough Hop Machine,” 339; David Brackett, “Elvis “Searching for the Roots of the Banjo: Part Guide to Critics: Musicians Discuss the Role Costello, the Empire of the E Chord, and a I,” 14; rev. of Tracey E.W. Laird, Louisiana of the Music Press,” 221; Timothy Rommen, Magic Moment or Two,” 357; Mark Anthony Hayride: Radio and Roots Music Along the “Protestant Vibrations? Reggae, Rastafari, Neal, “White Chocolate Soul: Teena Marie Red River, by Pete Peterson, 64. and Conscious Evangelicals,” 235; Martina and Lewis Taylor,” 369; Charles Kronengold, Viljoen, “‘Wrapped Up’: Ideological Setting OPERA NEWS “Accidents, Hooks and Theory,” 381; Tim and Figurative Meaning in African-American (Nov 05): Rev. of Ned Rorem, Wings of Quirk and Jason Toynbee, “Going through Gospel Rap,” 265; Anthony Kwame Harrison, Friendship: Selected Letters 1944-2003, the Motions: Popular Music Performance in “‘Cheaper Than a CD, Plus We Really Mean by Carol Wallace, 84. (Dec 05): Martin Journalism and in Academic Discourse,” 399; It’: Bay Area Underground Hip Hop Tapes Bernheimer, “American Tragedians [Tobias Joshua Clover, Ange Mlinko, Greil Marcus, as Subcultural Artifacts,” 283; rev. of David Picker’s An American Tragedy],” 16. Ann Powers and Daphne A. Brooks, “Critical Grazian, Blue Chicago: The Search for Karaoke,” 423; Oscar Garza, “Land of a THE OPERA QUARTERLY Authenticity in Urban Blues Clubs, by Jesse Thousand Dances: An R&B Fable,” 429; rev. (Sum 05): Rev. of Victoria Etnier Villamil, ‘Mad Dog’ Samba Wheeler, 331. of William A. Everett and Paul R. Laird, eds., From Johnson’s Kids to Lemonade Opera: The Cambridge Companion to the Musical; The American Classical Singer Comes of POPULAR MUSIC AND SOCIETY Mark Eden Horowitz, Sondheim on Music: Age, by William Albright, 530; rev. of Clyde (Oct 05): Mark A. Fox, “Market Power in Minor Details and Major Decisions; and T. McCants, American Opera Singers and Music Retailing: The Case of Wal-Mart,” 501; Arthur Knight, Disintegrating the Musical: Their Recordings: Critical Commentaries and Kembrew McLeod, “MP3s Are Killing Home Black Performance and American Musical Discographies, by William Albright, 533. Taping: The Rise of Internet Distribution Film, by Andrew Killick, 445; rev. of Graeme and Its Challenge to the Major Label Music PHILOSOPHY OF MUSIC EDUCATION Thomson, Complicated Shadows: The Life Monopoly,” 521; Rob Drew, “Mixed Blessings: REVIEW and Music of Elvis Costello and Larry David The Commercial Mix and the Future of Music (Fall 05): Rev. of Carolyn Livingston, Charles Smith, Elvis Costello, Joni Mitchell and the Aggregation,” 533; rev. of Meryle Secrest, Faulkner Bryan: His Life and Music, by Torch Song Tradition, by Keith Negus, 453; Somewhere for Me: A Biography of Richard Terese M. Volk, 211. rev. of Eithne Quinn, Nuthin’ But a ‘G’ Thang: Rodgers, by James Leve, 566; rev. of Alanna

70 The Bulletin of the Society for American Music • Vol. XXXII, No. 3 The Bulletin of the Society for American Music • Vol. XXXII, No. 3 71 Nash, The Colonel: The Extraordinary Story Street: A Memoir and Dave Van Ronk, The Paredes,” 7; Roger D. Abrahams, “‘I Must Be of Colonel Tom Parker and Elvis Presley, by Mayor of MacDougal Street: Rarities 1957- Doing Something Right’: Don Américo among Simon Stow, 570; rev. of Barry Lee Pearson 1969, by Mike Regenstreif, 100; rev. of Robert ‘los (G)rinches’,” 29; John H. McDowell, and Bill McCulloch, Robert Johnson: Lost and Gordon and Bruce Nemerov, eds., Lost Delta “Chante Luna and the Commemoration Found, by Paul R. Kohl, 572. (Dec 05): Steve Found: Rediscovering the Fisk University– of Actual Events [folklorization of corri- Hamelman, “It’s a Legal Matter, Baby: Fair Library of Congress Coahoma County Study, dos],” 39; Guillermo E. Hernández, “On the Use Law and the Rock ’n’ Roll Scholar,” 577; 1941-1942, by Elijah Wald, 100; rev. of John Paredes-Simmons Exchange and the Origins Alejandro L. Madrid, “Imagining Modernity, Einarson, Mr. Tambourine Man: The Life and of the Corrido,” 65; Samuel G. Armistead, Revising Tradition: Nor-tec Music in Tijuana Legacy of the Byrds’ Gene Clark, by James “Spanish Epic and Hispanic Ballad: The and Other Borders,” 595; Mary Ellison, M. Princhard, 102. (Win 06): Rev. of Studs Medieval Origins of the Corrido,” 93; rev. “Dr. Michael White and New Orleans Jazz: Terkel, And They All Sang: Adventures of an of Thomas McKean, ed., The Flowering Pushing Back Boundaries while Maintaining Eclectic Disc Jockey, by Roger Deitz, 110; Thorn: International Ballad Studies, by James the Tradition,” 619; Jim Sernoe, “‘Now We’re rev. of Stephanie P. Ledgin, From Every Stage: Moreira, 119; rev. of Enrique R. Lamadrid, on the Top, Top of the Pops’: The Performance Images of America’s Roots Music, by Tom Hermanitos Comanchitos: Indo-Hispano of ‘Non-Mainstream’ Music on ‘Billboard’s’ Drukenmiller, 110; rev. of B.B. King and Dick Rituals of Captivity and Redemption, by Albums Charts, 1981-2001,” 639; Mark Allan Waterman, The B.B. King Treasures, by Gary Kenneth R. DeShane, 138; rev. of Marcia Jackson, “Dark Memory: A Look at Lynching von Tersch, 111. (Sp 06): Rev. of Ronald D. Gaudet and James C. McDonald, eds., Mardi in America through the Life, Times, and Lankford, Jr., Folk Music USA: The Changing Gras, Gumbo, and Zydeco: Readings in Songs of Woody Guthrie,” 663; rev. of Martin Voice of Protest, by Rob Weir, 100; rev. of Dick Louisiana Culture, by John Dorst, 147; rev. Cloonan and Reebee Garofalo, eds., Policing Weissman, Which Side Are You On? An Inside of Eleanor R. Long-Wilgus, Naomi Wise: Pop, by Howard A. Doughty, 691; rev. of Story of the Folk Music Revival in America, Creation, Re-Creation and Continuity in an Richard Young, Critical Studies, Vol. 19: by Michael Cala, 101; rev. of Nick Salvatore, American Ballad Tradition, by Stephen D. Music, Popular Culture, Identities, by Martin Singing in a Strange Land: C.L. Franklin, Winick, 149. Cloonan, 693; rev. of Eric Weisbard, This Is the Black Church, and the Transformation of Pop: In Search of the Elusive at Experience America, by Gary von Tersch, 101; rev. of Bill WOMEN AND MUSIC Music Project, by Brett Lunceford, 695; rev. Carpenter, Uncloudy Days: The Gospel Music (9/2005): Lydia Hamessley, “A Resisting of Preston Whaley, Jr., Blows Like a Horn: Encyclopedia, by Gary von Tersch, 102. Performance of an Appalachian Traditional Beat Writing, Jazz, Style, and Markets in the Murder Ballad: Giving Voice to ‘Pretty Polly,’” Transformation of U.S. Culture, by Kenneth J. SONUS 13; Ellen Koskoff, “(Left ‘Out in’) ‘Left’ (the Bindas, 697. (Fall 05): Helena Bugallo, “Concealed ‘Field’): The Effects of Post-Postmodern Structures in Conlon Nancarrow’s ‘Study #20’ Scholarship on Feminist and Gender Studies REVISTA DE MÚSICA for Player Piano,” 1; Christian Wolff, “Music- in Musicology and Ethnomusicology, 1990- LATINOAMERICANA Experiment-Education [Cage, Feldman, 2000,” 90; rev. of Eric Weisbard, ed., This Is (Fall-Win 05): Gregory T. Cushman, “¿De jazz],” 18. Pop: In Search of the Elusive at Experience qué color es el oro? Race, Environment, and Music Project, by Kevin J.H. Dettmar, 116; STRINGS the History of Cuban National Music, 1898- rev. of Maureen Mahon, Right to Rock: The (May 06): Rev. of Julie Ayer, More Than 1958,” 164; Mark Brill, “Carrasco or Mathias? Black Rock Coalition and the Cultural Politics Meets the Ear: How Symphony Musicians Plagiarism and Corruption in an Eighteenth- of Race, by Norma Coates, 119. Century ‘Examen de Opposición’ from the Made Labor History, by James Keough, 74. WOMEN OF NOTE QUARTERLY Oaxaca Cathedral,” 227; María Gembero STUDIA MUSICOLOGICA (9/1 2005): Paige Rose, “A Brief History Ustárroz, “El compositor español Hernando (46/3-4): László Gombos, “Reception of the of Katherine Lee Bates and the Creation of Franco (1532-85) antes de su llegada a Young Ernö Dohnányi: The Background ‘America the Beautiful’,” 11; rev. of Lynette México: Trayectoria profesional en Portugal, of His Successes During His First Tours to Miller Gottlieb, Composing Oneself: Amy Santo Domingo, Cuba y Guatemala,” 273; England and America,” 352. rev. of Joel Sherzer, comp./ed., Stories, Myths, Beach, Ruth Crawford, and Their Declarations Chants, and Songs of the Kuna Indians, by THE TRACKER of Independence, by L.M. Gottlieb, 18. Greg Urban, 347; rev. of Frances R. Aparicio (Fall 05): N. Lee Orr, “Dudley Buck Comes and Cándida Frances Jáquez, Musical to Chicago,” 8; Hal Gober, “Restoring a Rare Migrations: Transnationalism and Cultural Pre-Civil War Organ in Rural Indiana,” 15. (Sp Hybridity in Latin/o America, by Estevan 06): Elizabeth Towne Schmitt, “William Metz: Azcona, 352; rev. of Elizabeth A. McAlister, An Early St. Louis Organbuilder,” 38. Rara! Vodou, Power, and Performance in Haiti and Its Diaspora, by Bryan Walls, 356. WESTERN FOLKLORE (Fall 04): Rev. of Norma E. Cantu and Olga REVISTA MUSICAL CHILENA Najera-Ramirez, eds., Chicana Traditions: (Jul 05): Rev. of Steven Loza, Musical Continuity and Change, by Enrique R. Cultures of Latin America: Global Effects, Lamadrid, 333; rev. of Cheryl Keyes, Rap Past and Present, by Cristián Guerra Roja. Music and Street Consciousness, by Jordan Rich, 339; rev. of Lynn Abbott and Doug SING OUT! Seroff, Out of Sight: The Rise of African (Fall 05): Mark Rubin, “Charlie Poole: The American Popular Music, 1889-1895, by Peter Man at Country Music’s Roots,” 18; Paul B. Lowry, 344; rev. of Ronald D. Cohen, ed., Anastasio, “Hot Lands: The Music of Mexico’s Alan Lomax: Selected Writings, 1934-1997, by Tierra Caliente,” 44; rev. of Dave Van Ronk Peter B. Lowry, 368. (Win 05): José R. López with Elijah Wald, The Mayor of MacDougal Morín, “The Life and Early Works of Américo

70 The Bulletin of the Society for American Music • Vol. XXXII, No. 3 The Bulletin of the Society for American Music • Vol. XXXII, No. 3 71 AWARDS OF THE S OCIETY

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

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72 The Bulletin of the Society for American Music • Vol. XXXII, No. 3