created to provide music for occasions or for others. Thus came choral songs in the German Lutheran tradition while Manheim was a student in Leipzig, and four-part songs based on English and Irish poets while studying in London. In both cases one might have assumed it was a German or an The Bulletin Irishman writing, though the music bore a special personal individuality and inspira- tion. At the University of Kansas and OF THE S OCIETY FOR A MERICAN M USIC UMKC, where he long played violin in the FOUNDED IN HONOR OF O SCAR G. T. SONNECK orchestra, he contributed orchestral compo- sitions and incidental music to plays, as well as chamber works. In the 70s and 80s Vol. XXVIII, No. 3 Fall 2002 Manheim (my father) composed a series of simple but evocative string chamber pieces for children, many with Hungarian and other folk character. The Colorado String Ernest Manheim: Sociologist, Quartet, which frequently summered in Anthropologist, and Composer Falmouth, Massachusetts (where I lived until recently), used this collection as sight- Turns 102 reading material for its young master class students. In the early 50s a visit by the then con- [The Editor regrets that we were unable to correct one from behind a wall where he had ductor of the Kansas City Philharmonic, run this piece in the Summer issue of the been listening. Reiner convinced Ernest’s Hans Schwieger, catalyzed completion and Bulletin due to space constraints. It was espe- parents to give him music training. At the performance of Manheim’s Symphony in B cially sad since Ernest Manheim passed away age of about 15 or 16 a notable episode Minor by the Philharmonic. At Manheim’s rather soon thereafter. His obituary and some occurred while Ernest was taking an orches- home Schwieger picked up the manuscript comments about the commemorations follow.] tration class at the Budapest Conservatory. of a symphony movement on the piano. If we count conception as the starting The first substantial assignment in class was After study of the score Schwieger point, Professor Emeritus (University of to orchestrate a Beethoven sonata in a style exclaimed: “Ernest, this is great music. If you Missouri, Kansas City) Ernest Manheim has appropriate to Beethoven’s symphonies. finish it I’ll play it in the Philharmonic!” lived in three centuries (19th, 20th, and now After Manheim handed in his assignment he And indeed, this work by an amateur com- the 21st). Born in Budapest, Hungary in was called into the instructor’s office and poser was performed, though many waiting 1900, Manheim fought in two wars before told: “You need not continue this class—I works by professionals would have normally he was 21, earned Ph.D. degrees in sociology have nothing more that I can teach you!” received priority for the orchestra. (Leipzig) and anthropology (London), and Apparently, young Ernest, who frequent- During festivities accompanying the emigrated to the United States with wife and ly accompanied his mother to concerts and 100th birthday celebrations in Kansas City son in 1937. Manheim’s life is remarkable in operas, had been given the score of Wagner and Lawrence, Kansas (University of many ways other than his longevity, not least operas to study. From these he had learned Kansas), concerts of Manheim’s music were in music, a lifelong passion. Music played a the notation system for various orchestral held, and during the past year a quintet from role in his receipt of the University of instruments in orchestral score. Having per- University of Kansas toured in several Missouri Thomas Jefferson Award for excel- fect pitch and a keen ear for orchestral tim- European towns, featuring American music. lence in diverse fields in 1972, and in 1997, bres, he had been able to “hear” the sonata Of the works performed (Gershwin, when he was awarded Austria’s highest expanded to orchestral form in his mind, Copland, and Manheim), newspaper honor for achievement in the arts and sci- and “see” the proper notation. It then accounts indicated that Manheim’s work got ences. In 2000, honoring his 100th birth- remained only to write down the notes. This the highest public enthusiasm. day, the University of Missouri at Kansas episode helped explain to me how some As a final improbable note, I can report City (UMKC) named a new social sciences composers from the past could display mas- that a joint paper with my father on the role building Manheim Hall. Manheim has tery of orchestral writing in their first and future of rock music is scheduled for served 63 years as Professor, Chairman, and attempt (e.g. Georges Bizet, Symphony in C) completion in April. One would not expect Emeritus Professor at the Department of without the learning curve expected for such an extremely elderly man with Ernest’s Sociology at UMKC and its forerunner, the a complex undertaking. We know that European background and classical compo- University of Kansas City. Mozart composed compositions fully in his sition interests to have insight into rock. He Ernest Manheim’s musical abilities were mind, even while riding in a carriage from was already 63 when The Rolling Stones first noted by the late conductor, Fritz place to place, and then simply wrote them launched their career. However, he com- Reiner (then Reiner Frigyes). Reiner was giv- out without flaw. bined musical and sociological knowledge to ing piano lessons to Ernest’s sister Greti at A pattern in Manheim’s musical activi- discern a special role for “beat” music, which the Manheim home on Buda Hill in ties was his reticence in composing music he claims has a long history in mankind. Budapest. Greti played a false note and purely to express himself. Rather, the great Ernest, then 7 years of age, called out the majority of his avocational output has been continued on page 34 Ernest Manheim was named in his honor in 1999. The continued from page 33 University of Kansas held an international The Repassing symposium on the occasion of his 100th of a Long-Passed The duality of beat vs. melody can be linked, birthday in 2000. A forthcoming book con- according to Manheim, with the concept of taining articles by and about Manheim is in Parade society vs. community, enunciated by a pio- press (Frank Baron, David Smith, and neering 19th Century sociologist, Ferdinand Charles Reitz, KU, editors). Toennies. Ernest Manheim served Kansas City Happy Birthday, Ernest! throughout his life. He served on the board Joe Klock, Sr. of the Lyric Theater and was active in the Ineffectuals and other civic organizations. It was like a page suddenly torn from a He is survived by his wife, Sheelagh forgotten diary, brought to life by people I Manheim and her children; his son, Frank didn’t know, but who revived sights and Tibor Manheim; grandchildren; and a great sounds from my early boyhood with grandchild. astonishing accuracy. It was Old A memorial event was held on Saturday, Holderness Day in the small New August 3rd, at the University Center, Hampshire town that is our late-summer University of Missouri at Kansas City. The escape from the climatic caldron of South commemoration began with an invocation Florida and our annual adventure in leaf- and a performance of Corelli’s Trio Sonata, peeping. Holderness, at least to this big- No. 1, Op. 4. This was followed by several city-raised geezer, is an example of the pieces of Ernest Manheim’s performed by his vanishing slice of rural Americana where- grandchildren, Francesca Manheim, who is in I was born, from which I was borne at Ernest Manheim, Professor Emeritus at a professional violinist with the Kansas City an early age, and to which I’ve returned to the University of Missouri, Kansas City died Symphony, and Ose Manheim, also a vio- some extent by settling in laid-back Key at home 28 July 2002 at age 102. Ernest was linist, who lives in Malden, Massachusetts Largo, Florida. born in Budapest, Hungary, served in the with her husband and son. After his “chil- It partially surrounds Squam Lake, Hungarian army in World War I, obtained dren’s pieces for violin(s), viola and cello,” recently famed as the site of On Golden doctoral degrees in Leipzig and London, and there followed “Rita buza, Ritka árpa, Ritka Pond, and is, in turn, surrounded by the immigrated to the United States in 1937. rozs” (“Wheat, Oats, Rye”), an arrangement foothills of the White Mountains. It is He was founder and first Chairman of the of a Hungarian folk song. The program quiet, serene, homey, and peopled by peo- Department of Sociology at Kansas City notes describe Ernest Manheim as a true ple who can be pretty much described the University, later UMKC, in 1938. renaissance man based on the following def- same way. A renaissance man, Ernest composed a inition: “…one who has had a broad educa- It’s warm, friendly and nice—a place, symphony that was performed by the tion, acquired profound knowledge, has a for example, where motorists are courte- Kansas City Philharmonic in the early proficiency in a wide range of fields and ben- ous to a fault, pedestrians are always given 1950s, and received the University of efits his community.” Donations are being the right of way, and horns are never, but Missouri’s Thomas Jefferson Award in 1978. accepted by the Miller Nichols Library, E. never, used as a means of protest or an Among recent honors was Austria’s highest Manheim Fund, at the University of expression of impatience (Miami please distinction in the arts and sciences. Missouri-Kansas City. note!). Manheim Hall (Social Sciences) at UMKC Although only a summer resident, I’m recognized on sight and by name by Larry, the local postmaster, who can also be The Bulletin of the Society for American Music counted on for news of bear sightings and other current events. It was, in fact, while The Bulletin is published in the Spring (March), Summer (July), and Fall (November) by the picking up the season’s first mail that I Society for American Music. Copyright 2002 by the Society for American Music, ISSN learned about Old Holderness Day 2002 0196-7967. and for the first time followed through on my annual intention to participate. Editorial Board Truth to tell, it was the lure of a craft Interim Editor ...... Mariana Whitmer ([email protected]) show and hot dogs at noon that got me Bibliographer ...... Joice Waterhouse Gibson ([email protected]) there, plus the billing of a “New Indexer ...... Amy C. Beal ([email protected]) Holderness String Band.” As one who had Items for submission should be addressed to Mariana Whitmer, Society for American Music, witnessed several decades’ worth of the Stephen Foster Memorial, University of Pittsburgh, Pittsburgh, PA 15260. All materials Philadelphia Mummers Parade, I was should be submitted in printed copy, on floppy disk, or as attachment to eager to see and hear New Hampshire’s version of this gaudy old Philly tradition. e-mail. Photographs or other graphical materials should be accompanied by captions and Well, it turned out to be simply the desired location in the text. Deadlines for submission of materials are February 15, May 15, Pelletier family of four, singing hymns and and October 15. folk songs, accompanying themselves with

34 The Bulletin of the Society for American Music • Vol. XXVIII, No. 3 guitars, a mandolin and a wash-tub bass. town parades are generally regarded as [Editor’s note: Joe Klock, Sr. is a free- It was charming beyond description—and corny these days, but it surely didn’t seem lance writer in Key Largo, Florida. Email that’s where the déjà vu really hit me. that way to the hometown folks at him: [email protected] or call (305) 451- The last time I’d seen and heard a Holderness—or one ancient bystander 0079 (July-Aug-Sep: (603) 968-7674). wash-tub bass was in Willow Grove, enjoying a major rush of nostalgia. More of his material may be accessed at Pennsylvania, nearly seventy years ago— Maybe you had to be there—and I www.joe klock.com/joesplace. Snail-mail and beside that tub, I suddenly re-envi- genuinely wish you had been. Anyway, may be directed to: The KlockWorks, sioned a fiddler, a spoons player and what I’m sure glad I was! Inc., 606 Island Drive, Key Largo, FL I remember as a virtuoso Jew’s harpist. 33037-4808] The vision was real enough to be scary— and heart-melting, too. But it was the later parade that peeled back the curtain of time and transported me to a spectacle that had been buried in memory since our family moved to the The Society for American Music Big City in the early 1930s. The parade of The Society for American Music promotes research, educational projects, and the dissemination of old had again come to life, albeit with dif- information concerning all subjects and periods embraced by the field of music in American life. ferent names and faces. The same people Individual and institutional members receive the quarterly journal American Music, the Bulletin, and the and things that had thrilled me as a kid, annotated Membership Directory. Direct all inquiries to The Society for American Music, Stephen Foster were thrilling me again in my geezerdom. Memorial, University of Pittsburgh, Pittsburgh, PA 15260; (412) 624-3031; [email protected]. There was the Bek Tash Temple Officers of the Society, 2002-2003 Shriners Drum Corps, easily sexagenarian President ...... Paul Wells in average vintage, but belting out march President-Elect ...... Carol Oja music with bone-jarring percussion; there Vice President ...... Larry Worster were vintage automobiles, many of which Secretary ...... R. Allen Lott had not yet been made when I last attend- Treasurer ...... George Keck ed a small-town parade; and the antique Members-at-large ...... George Boziwick, Michael Broyles, Linda Pohly, “Same Day” fire truck that drew smiles Mary DuPree, Denise Von Glahn, Josephine Wright from the crowd would have then been Editor, American Music ...... David Nicholls state of the art; the Willow Grove version Executive Director ...... Mariana Whitmer was a horse-drawn hand-pumper with Conference Manager ...... James Hines stacks of buckets on board. There was a Standing Committee Chairs: kid riding alone on his training-wheeled Finance: William Everett; Long-Range Planning: Paul Wells, Development: Ann Sears, Honors and bicycle in patriotic attire, floats sponsored Awards: Anne Dhu McLucas, Dissertation 2001: Karen Ahlquist, Mark Tucker Award: Nym Cooke, by local entities, and a plethora of politi- Membership: Marilynn Smiley; Conference Site Selection: Kay Norton; Nominating: Deane Root; Public cians riding in open cars or “working the Relations: Homer Rudolf; Book Publications Subvention (Johnson Bequest): Denise Von Glahn, Silent crowd” on foot in advance of the coming Auction: Dianna Eiland; Publications: Dale Cockrell election season. Appointments and Ad Hoc Committees: There was a fancy cart drawn by a ACLS Delegate: Anne Dhu McLucas; Archivist: Susan Koutsky; Committee on Publication of strutting pony, a tractor decorated, American Music: Judith McCulloh; US-RILM Representative: Denise Von Glahn; Registered Agent for manned and womanned by “The Young the District of Columbia: Cyrilla Barr & Old Burleigh Farmers,” the Baker Interest Groups: Valley Band from a neighboring town, American Band History: Susan Koutsky; American Music in American Schools and Colleges: James V. and a wood-fired steam vessel somewhat Worman; Folk and Traditional Music: Ron Pen; Gay/Lesbian/Bisexual/Transgendered: David Patterson; like the “African Queen” that lives in Gospel and Church Music: Esther Rothenbusch and Roxanne Reed; Music of Latin America and the retirement near our home in the Florida Caribbean: John Koegel; Musical Biography: Adrienne Fried Block; Musical Theatre: Paul R. Laird; Popular Keys. Music: Kirsten Stauffer Todd, Philip A. Todd; Research on Gender and American Music: Liane Curtis; What really hit me where I lived—or Research Resources: George Boziwick; 18th Century Music: David Hildebrand; 20th Century Music: David used to live—was the American Legion Patterson; Historiography: Paul Charosh; Students: Felicia Miyakawa, Maria Cizmic color guard, with aging standard bearers and riflemen marching in proud preci- Electronic Resources sion, their progress along the parade route Listserv: [email protected] marked by ripples of applause as the flag Website: http://www.american-music.org went by. They could have been the same old guys who marched through “down- Annual Conferences 29th Annual Conference: 26 February–2 March 2003; Tempe, Arizona town” Willow Grove those many years Catherine Parsons Smith, Program Committee Chair ago—and, for a magic moment, they real- Karen Bryan, Local Arrangements Chair ly were, in the eyes of at least one old guy among the spectators. November is AMERICAN MUSIC MONTH I suspect that the old-fashioned home-

The Bulletin of the Society for American Music • Vol. XXVIII, No. 3 35 N EWS OF THE S OCIETY

Letter from the President From the Executive Director Ethics Statement Greetings! Getting To Know You The Ad Hoc Ethics Committee of The As I write, the heat and humidity that we In the inaugural Directory of the Society Society for American Music has recently live with in the South from May through for American Music (September, 1975) an compiled a set of Guidelines for Ethical September has only just given way to cool, informal listing appeared describing the Conduct. While the Introduction and an crisp Fall weather. Another academic year is membership. Of the 102 members, college outline appear below, the entire document is well underway and many of us no doubt feel teachers (in a music department) topped the available for viewing online at the website as though we live in the country of the Red list with 37 members filling that role. 14 (www.american-music.org). A hardcopy of Queen on the other side of the looking glass, members were employed neither as teachers the Guidelines may also be requested from where “it takes all the running you can do, or musicians (although they didn’t indicate the Society office in writing, or call (412) to keep in the same place.” Where does the how, or whether, they were employed), 10 624-3031. Comments or suggestions may time go? were librarians, 7 were institutional music be submitted to George Boziwick, chair of Reflecting on the passage of time from directors, 5 were students, and the remain- the committee, via email (gboziwick@ my own corner of the world, it hardly seems ing 29 described themselves thus: nypl.org) or by regular mail care of the possible, but it was a full thirty years ago this 3 college teachers in departments other Society office. All suggestions for changes Fall that I began my graduate work at than music must be received by 1 January 2003. UCLA. In September of 1972 I was one of 3 musicologists several new students who converged on the 3 ethnomusicologists Society for American Music Folklore program at UCLA with the specif- 3 museum curators Guidelines for Ethical Conduct ic intent of studying American traditional 3 conductors INTRODUCTION music. At the time this was virtually the only 2 music educators In 1998 the Board of Directors of the route that one could take to pursue an acad- 2 pianists Society for American Music, henceforth SAM emic interest in the vernacular music of our 2 organists (formerly the Sonneck Society for American own back yard. It was music that was too 2 retired Music), authorized an ad hoc committee, close to home for most Ethnomusicology 2 unknown chaired by Carol K. Baron and continued by programs of the time, and too far removed 1 square dance caller George Boziwick to formulate a set of guide- from the realms of high culture to be an 1 music critic lines for ethical conduct. This committee decid- accepted area of study in the context of con- 1 sheet-music dealer ed that an adaptation of the Guidelines for ventional Musicology. 1 institution Ethical Conduct hitherto formulated by the While the situation today is perhaps not The Society has grown significantly American Musicological Society was the most ideal, great strides have been made in the since then and it is time to take another look desirable route to achieving its goal. Permission past three decades in opening the doors of at who we are to determine in what ways we from the AMS was requested and gratefully the academy to the whole spectrum of the can better serve our members. In your received in 1999. Several emendations, addi- musical world. It is tremendously gratifying renewal packet you will be asked to provide tions, and/or deletions were made to more close- to see Mike Seeger, long one of my personal us with one or two identifiers which best ly reflect the activities and needs of SAM; musical heroes, poised to receive one of this describe you. This may be your vocation or wherever such exist, they are clearly indicated Society’s highest forms of recognition when your avocation, whichever relates to your by italics and other such symbols denoting a he will be named an Honorary Member at reason for joining the Society. departure from the original text, thereby meet- the Tempe conference. He will join a group A New Look for Renewals ing the only condition stipulated by the AMS of people that is as diverse as it is illustrious. for its use. Gratitude is also due the Music Next month when you receive your This honor will come at a time when Mike Library Association for permission to adopt renewal notice for 2003 membership, you will be serving as Artist in Residence at the their “Guide to Copyright” for use in relevant will notice that the forms are different. In an College of William & Mary, under the aegis sections. of the Department of Music at the College. effort to save money, the Society will no I daresay that thirty years ago such an longer be sending out multi-part renewal PREFACE: A RATIONALE appointment would have been unheard of. invoices. We ask that you please return the The Guidelines for Ethical Conduct are form with your payment and utilize your presented to members of the Society for Best regards, cancelled check, or credit card statement, as American Music (hereafter SAM) as a set of rec- your receipt. If you have any questions, ommendations. Although the document has no please contact the SAM office. You may also legal authority, it suggests appropriate standards save the postage and renew online! of behavior for members as they interact within SAM, with colleagues, supervisors and adminis- Paul F. Wells, trators, and with others in the public and pri- President vate sector. It addresses relevant contemporary issues (e.g., job searches, employment, library

36 The Bulletin of the Society for American Music • Vol. XXVIII, No. 3 access, library etiquette, publication, copyright) performers, and informants. In their profes- II. Ethical Conduct in Publication and serves as a helpful source for women, sional lives, SAM members should partici- and Other Presentations of minorities, the gay community—indeed all stu- pate in the decision-making processes that Scholarly Work dents, faculty, and administrators. govern their respective institutions and A. Submission Procedures and the Preamble accept responsibility for fostering the behav- Obligations of Authors As a diverse intellectual community, the ior promoted by the Society’s Guidelines for B. Editorial Procedures and Society for American Music supports the efforts Ethical Conduct. Finally, members of SAM Obligations of Editors and of its membership to promote the study, perfor- should see to it that their own Society’s activ- Publishers mance, and dissemination of American Music. ities live up to the high standards set forth in C. Reviewing Procedures and Participation in these activities should be held these Guidelines. Obligations of Referees by the society to the highest standards of profes- I. Ethical Conduct in Research and III. Ethical Conduct in Professional sionalism and ethical conduct. In this light, Scholarship Employment and Service members of SAM recognize an obligation to A. Freedom of Inquiry and Respect A. Responsibilities to Employers, uphold and promote the following basic for Diversity Colleagues, and Fellow Employees principles of ethical conduct in our profes- B. Freedom of Access to Research and to the Larger Community sion: (1) freedom of inquiry and the widest Materials and Facilities 1. Academic Employment and allowable access to information of use to C. Responsibility in Scholarly Affirmative Action scholars; (2) honesty and integrity in schol- Exchanges 2. Professional Conduct and Issues arly investigation and in the evaluation and D.Ethical Use of the Work of Others of Harassment transmission of the results of scholarship; (3) 1. Acknowledgment of Sources 3. Professional Service in the respect for diverse points of view on any 2. Copyright and Fair Use (This Community at Large aspect of music or any subject related to section is from the “Statement on 4. Scholars Working Abroad American music; (4) recognition of the intel- the Copyright Law and Fair Use 5. Responsibilities to Co-Workers lectual property rights of other scholars, in Music” of the Music Library 6. Responsibilities of Teachers to institutions and publishers, and of com- Association) Students posers, performers, and informants; (5) fair- 3. Permission to Use Unpublished B. Responsibilities of Professional ness and honesty in evaluations of colleagues Materials (AMS “Guidelines,” Institutions and Organizations and students; (6) avoidance of any appear- continued) 1. Scholarly Integrity and Due ance of a conflict of interest in processes of 4. Collaborative Projects Process evaluating the work of colleagues and stu- 5. Issues Arising from New 2. Working Conditions dents, and (7) commitment to extend to col- Technological Developments 3. Recruitment, Hiring, and leagues and students equal opportunities for (This paragraph is from the Termination…. full participation in their respective profession- Music Library Association’s 4. Responsibilities to Graduate al communities. “Statement on the Copyright Students and Teaching Since the behavior of members of SAM, Law and Fair Use in Music”). Assistants in whatever…capacities they serve, affects the well-being and reputation of the profes- sions in which they participate, members of the SOCIETY FOR AMERICAN MUSIC Society are expected to uphold these princi- (formerly The Sonneck Society) ples not only in their artistic and scholarly * * * Opportunity to advertise * * * work but also in all their professional capaci- ties. They are expected to conduct themselves CONFERENCE PROGRAM—Tempe, Arizona, 2003 ethically and responsibly toward colleagues, Specifications and Rates for Advertisements students, support staff, employing institu- Advertisements will be accepted for the Conference Program for the Society’s 29th tions, other professional institutions and National Conference to be held 26 February–2 March 2003 in Tempe, Arizona. organizations, and individuals or organiza- Print run will be 350 copies. tions that provide them with scholarly mate- SUBMISSION DEADLINE: 15 January 2003 rials and information. Like individual profes- To reserve, call Mariana Whitmer at (412) 624-3031 or sionals, these institutions and their represen- E-mail: [email protected] tatives are responsible for the promotion of Mail to: Society for American Music, 405 Bellefield Hall, University of free inquiry and the widest possible access to Pennsylvania, Pittsburgh, PA 15260. information, for promoting integrity in the Fee must be included with copy. Tear sheets will be sent after publication. process of scholarly investigation and the MECHANICAL SPECIFICATIONS AND PRICES evaluation and transmission of the results of 3 3 Overall Page size: 8 ⁄8" high x 5 ⁄8" wide that investigation, for acceptance of the Photo-ready black and white mechanical or electronic files (PC format only) required: 1 1 potential worth of scholarship on any aspect Full page ad: 7 ⁄4" high x 4 ⁄2" wide last page: $75.00 of American music or any subject related to inside page: $50.00 American music, and for recognition of the ELECTRONIC FILES ENCOURAGED: intellectual property rights of other scholars, Submit jpeg, gif, or PDF files in PC format to [email protected] institutions and publishers, and composers,

The Bulletin of the Society for American Music • Vol. XXVIII, No. 3 37 BULLETIN B OARD

Student Housing in Tempe The newest addition to American American music in this period by the noted Are you a graduate student? Are you Memory, “Music for the Nation: American scholar, and longtime specialist in the Music planning to attend the Tempe, Arizona 2003 Sheet Music, 1820-1860” (http://memory. Division, Wayne Shirley. SAM conference? Need to find a hotel room loc.gov/ammem/sm2html/), consists of over Over the years, Music Division staff for the conference weekend? If you are inter- 15,000 pieces of sheet music registered for selected items deposited for copyright and ested in finding a hotel room, getting stu- copyright during the pre-Civil War years. added them to the Division’s classified col- dent rates, and/or sharing a hotel room with This collection, taken from materials in the lections. These were the items by the best another graduate student in order to split Library’s Music Division, complements an known composers of the day, or items that hotel costs, please email Maria Cizmic, co- earlier American Memory project, “Music were otherwise thought to be interesting or chair of the SAM Student Forum at For the Nation: American Sheet Music important. Even so, much music material [email protected]. 1870-1885,” as well as the “Band Music was left in the Copyright Office and was not from the Civil War Era” and “Sheet Music transferred to the Music Division Student Travel Fund from the Civil War Era.” until some time in the 1950s. It is a portion Attention students! Thanks to generous This new installment of pre-Civil War of those items (published from 1820-60) donations from SAM members and pro- music materials are available through a com- that comprise this online collection. These ceeds from the Silent Auction (held yearly at mon “Music for the Nation” page 15,000 pieces of music, bound in three vol- the conference site), monies are available for (http://memory.loc.gov/ammem/ umes, comprised nearly a quarter of items students to help defray the cost of confer- mussmhtml/). Through this site, sheet that were transferred to the Library of ence travel. To apply for travel funds, print music items are searchable via title, compos- Congress from the Patent Office in 1870. and fill out an application (available at er or subject for this new collection, as well Please direct any questions to http://www.american-music.org/awards/ as the “Music For the Nation: American http://www.loc.gov/rr/askalib/ask- StudentTravelApplication.htm) and send it Sheet Music 1870-1885” collection. memory.html. The years 1820 to 1860 reflect a coming to Josephine Wright, Department of Music, Members in the News College of Wooster, Wooster OH 44691. of age for American popular song, and many (On-line applications are not yet available; of the songs from this period are still well Federation of Music Clubs all applications should be sent through snail known today. Included online are many has given its 2002 First Place award for “The mail.) Please note: the deadline for this songs by Stephen Foster (1826-64) who Promotion and Performance of American application is 1 January 2003. For more composed such as favorites as “Susanna,” Music” to Texas Christian University’s information, see http://www.american- “The Old Folks at Home” and School of Music, reports Michael Meckna. music.org/awards/StudentTravel “Jeanie With the Light Brown Hair.” Other The award, which comes with a $500 cash Endowment.htm. recognizable songs from this era include prize, commends the School for its annual “There’s Music in the Air,” “Jingle Bells,” American Music Month (November) cele- Mark Tucker Award “Long, Long, Ago,” “Sweet Betsy from bration, 25th Annual Jazz Festival, and third The Mark Tucker Award is given yearly Pike,” and “Pop Goes the Weasel.” biennial Latin American Music Festival. for the best student paper read at our nation- Evident throughout the collection is the During the period covered (June 2001 to al meeting. The award honors the life and burgeoning popularity of the polka, and May 2002), TCU musicians gave a total of work of Mark Tucker, a much beloved for- songs that reflect the growing fame of per- 258 performances of works by 182 mer member of SAM. Any student planning formers such as the singing Hutchinson American composers on 123 programs. Ten to read a paper at the next national confer- Family and the first American tour percent of the programs were “all- ence is eligible to apply. You (arranged by P. T. Barnum) of soprano Jenny American,” and at least one American work will need to plan ahead for this application: Lind, known as the “Swedish Nightingale.” was heard on over 50% of the programs. a complete version of your paper will need to In addition to songs, the collection also Twenty-three composers were present for be sent to the committee well in advance of includes operatic arias, piano music, sacred their performances, and nine works were the conference. For more information about and secular vocal music, solo instrumental given their premieres. In addition to con- the award and application instructions, see music, method books and instructional certs and recitals, 18 visiting artists and lec- http://www.american-music.org/awards/ materials, and some music for band and turers participated in seminars, workshops, TuckerAward.htm. orchestra. or master classes which focused on Complete page images for all the sheet American music. Discounting a consider- In case you haven’t heard… music items are included in this online col- able radio audience, approximately 16,810 The Library of Congress Announces a lection, which also features two special pre- people attended these events, and the aver- New Addition to American Memory, sentations; one, a listing of the “greatest hits” age audience was 137. TCU has previously “Music for the Nation: American Sheet for the years 1820-1860, and a historical won the NFMC award in 1966, 1988, Music 1820-1860. background essay on the development of 1997, and 1999.

38 The Bulletin of the Society for American Music • Vol. XXVIII, No. 3 R EMEMBRANCES

In the Shadow of Cage and Feldman pianos (1953) seems to be traditionally In the last years of his life he fought can- In Memory of Earle Brown notated, but actually offers, like December cer. To date, there has not been a monograph Earle (Appleton) Brown died on 2 July 1952, the possibility of playing the pages of on him and his works; indeed, there has not 2002 in Rye, New York. Born 26 December the score in a flexible sequence. The been much research at all. Whether we will 1926 in Lunenburg (Mass.), Brown was one pianist(s) can decide on the order of the 25 see an increased research interest in and of the four members of the so-called New pages him/herself. Additionally each page more frequent performances of Brown’s York School of Composers. He studied the can also be played upside down. Therefore works in roughly five to ten years (as was the theories and writings of Joseph Schillinger one can label Twenty-Five Pages as the first case with Feldman), it remains a fact that between 1947 and 1950 at the Schillinger composition of “open” form. Another Brown was in the shadow of Cage and School of Music, Boston, and received pri- famous example of this compositional idea, Feldman. Feldman put it like this: “I think vate tuition in composition from Roslyn or one could say principle of reading and he’s been ripped off more than any of us, in Brogue Henning. While living in Denver performing the score, is Available Forms an overt way.” (Morton Feldman, “Captain with his first wife Carolyn, where he taught (1961), which consists of six pages, each Cook’s First Voyage”, in: Cum Notis the Schillinger system, he met Merce bearing four or five events. Unlike Cage’s Variorum, no. 131 (1989), pp.7–12). Cunningham and John Cage. This meeting Concert for Piano and Orchestra (1957-58), [This text is a shortened and re-written had important consequences for Brown: Brown gives the conductor much more version of the German text with the same title Cage organized a premiere of Three Pieces for power in directing the performance: s/he not which appeared in MusikTexte, issue 94, Piano (1951) in New York and convinced only indicates the tempo and dynamics, but Cologne 2002, 77-78.] the Browns to move there. Cage also asked also shows the musicians which event on Brown to join him in his Project for Music for which page they are supposed to play. —Clemens Gresser Magnetic Tape. After 1953 most of Brown’s works follow In New York Brown profited not only his idea of “open” form in some way. This [For the benefit of those who are not online, from the collaboration with Cage, but even concept also influenced composers such as the following is reprinted from an email more importantly from meeting and talking Pierre Boulez (Improvisation sur Mallarmé II, received at the SAM office on September 3, to Morton Feldman and Christian Wolff, the 1957 and Improvisation sur Mallarmé III, 2002.] circle of friends who would then form the 1959) and other European composers (such William Warfield as Franco Donatoni, who dedicated two New York School of Composers. This gave William Warfield, who died this past compositions to Brown: To Earle I, 1970, Brown new impulses and the possibility to week, was a champion of American music: and To Earle II, 1972). Brown was at first bounce some of his ideas off other composers Kern, Berlin, Copland, Gershwin, mainly recognized in Europe, where he who neither wanted to write within the Blitzstein, but perhaps most significantly of received several commissions and invitations Schoenberg legacy nor within a Stravinsky all, Elie Siegmeister, premiering two of to conduct orchestras or be composer-in-res- style of neoclassicism. Although these impuls- Siegmeister’s most important works, written idence from the late 1950s onwards. In his es were doubtless crucial, it would be a misin- for him: the cantata I Have a Dream, based home country he was only discovered later, terpretation to think that Brown was solely on Dr. Martin Luther King, Jr.’s famous taking several teaching positions from the reliant on Cage, Feldman, Tudor or Wolff in speech, and the song cycle The Face of War late 1960s (e.g. Peabody Conservatory from order to be played and recognized. Brown was based on five of the last poems of Langston 1968 until 1973, Buffalo in 1975 and Yale a composer in his own right, as were the other Hughes. The former was commissioned by a University from 1980-81). members of the New York School of synagogue, Beth Shalom, in Long Beach, Brown also promoted contemporary Composers; they cannot be described as a Long Island, and was premiered there in music in other ways. For thirteen years homogenous group under Cage’s guidance. April 1967, the week after Dr. King (1960-1973) Brown organized the record- The special characteristic of Brown’s denounced the Vietnam War, and the ings at Time-Mainstream Records, and more compositional approach lay in his idea to American Legion threatened to picket if he than 40 composers from over 15 countries approximate the time of composing as much showed up. He didn’t, and coverage were recorded under his supervision. The as possible to the time of performing. He that had been promised trickled to a mini- best-known composers were Ives, Cage, conducted many of his works, of which a mum. Bill Warfield was the courageous nar- Nono, Stockhausen, Berio and Xenakis. substantial number are in so-called “open” rator, though, reading Dr. King’s words, and Between 1984 and 1989 he was president of form, where he would pick the sequence of the concert did go on. the Fromm Music Foundation, organised the sections of the score during the perfor- A year later, Dr. King was dead. The concerts of contemporary music at the mance. Therefore he was able to fulfill his nation mourned, but the war went on. A Aspen Music Festival and gave commissions desire to “compose” spontaneously. concert of Musicians and Composers for to Henry Brant, Ornette Coleman, Steve Brown’s most famous compositions are Peace, organized by Siegmeister in May Reich, James Tenney and Joan Tower (to those from the 1950s and 1960s. December 1968, took place at a packed Carnegie Hall, name just a few of the composers who bene- 1952 from the collection “Folio” comes to and included Copland, Diamond, Sessions, fited from his support). Several US awards mind. This was most probably the first com- Kay, Mayer, and the featured work: the pre- position in Western art music to be notated acknowledged Brown’s commitment to and solely graphically. Twenty-Five Pages for 1-25 achievements for contemporary music. continued on page 40 The Bulletin of the Society for American Music • Vol. XXVIII, No. 3 39 Remembrances, continued from page 39 of the concert, which he did. (The Michigan Sousa to keep the manuscript in case he Daily reported in glowing detail about the wished to play it again, and so Sousa kept it, miere of Siegmeister’s cycle, sung by William concert and the last-minute inclusion of “The and Phyllis Danner was holding it in her Warfield. The N.Y. Times did not cover it. Victors”.) It was hailed as the “first” public hand as we talked! But the tape was distributed, for a few years, performance of the tune, although Elbel’s That is when I fell in love with Phyllis by the Fellowship of Reconciliation, and small orchestra played “The Victors” a few Danner, who cheerfully volunteered to send deserves to be reheard now more than ever, days earlier at the Whitmey Thater Theater in me a photocopy of everything in that man- as new wars are debated. downtown Ann Arbor, but the number of uscript, including several copies of the first I had the privilege of conducting Uncle players and audience was limited. page in varying intensities, all the way from Bill in the Manhattan premiere of I Have a The legend grew about Sousa’s reaction dark to light. A few days later her package Dream on 15 January 1989 at the Harlem to “The Victors.” The story was told that arrived and with that my lecture was com- School of the Arts and (broadcast and re- Sousa claimed that “The Victors” was one of plete. (An article in the Ann Arbor News broadcast several times) over WQXR. We the five finest college marches he’d ever which appeared a few days before my lecture will miss him. When the Elie Siegmeister heard. As I was preparing to give an illus- bears a color photograph of me holding up Society presents a concert tribute to trated slide talk about “The Victors” on the “The Victors” manuscript (a photocopy, Langston Hughes at the Langston Hughes 100th anniversary of the publication of the courtesy of Phyllis) next to a first edition of Library in Corona, Queens, Sunday, number (which I did, in connection with a “The Victors.” I was in seventh heaven! 20 October 2002, The Face of War will be program for The Stearns Collection of A few months later Phyllis and a graduate included, sung by Gregory Rahming, and Musical Instruments at the School of Music student drove to Ann Arbor for a music con- we will dedicate our performance to the in Ann Arbor in October 1998), I was hope- vention at which the student gave a talk on memory of William Warfield. ful to run down the source of the Sousa story SABRE. I was able to finally give Phyllis a and testimonial. I wasn’t having much luck, hug, take both ladies to dinner in Ann Arbor —Leonard J. Lehrman but when Larry Gushee told me that Sousa’s and in this feeble way repay the favor. (That Founder/Director, music was housed at the University of evening we visited the West Side [used] Book The Elie Siegmeister Society Illinois and that Phyllis Danner was the per- Shop and Phyllis managed to find a book that son to call at SABRE, I phoned Phyllis (who Sousa had written which dated from about answered the phone) and told her what I was 1908 or 1909; I think the price was $8.00.) A Little Bit More on Phyllis Danner interested in. Was there, I asked, anything in The next day the “girls” drove back to [The Editor regrets that this tribute was the Sousa files that quoted Sousa’s tribute to Champaign-Urbana and that’s the last time received too late for the Summer issue of the “The Victors”? Phyllis replied, “You know, I saw Phyllis. Bulletin. I am pleased to be able to include it we have a manuscript of ‘The Victors’ and I’m still in love with her and I want to now.] we don’t know quite why it’s here.” She left relate this story because it illustrates exactly I’d like to add to the fine tribute written the line and got “The Victors” from the files how an archive or library should be ready to by Jean Geil in the [Spring] Bulletin on the and described to me what was there. It was interact with scholars and researchers, espe- recent death of Phyllis Danner, head of the soon evident to me that she was holding the cially those at long distances. Sousa Archives for Band Research [SABRE] very pen-and-ink manuscript that Louis Those of us who knew her will miss her at the University of Illinois. Elbel had handed Sousa to play from at the very much. I have been intensely interested in May 1899 concert in Ann Arbor. After the —R. Michael Montgomery University of Michigan songs ever since I concert was over, Elbel, naturally, invited Southfield, Michigan graduated from there in 1955. I began find- ing Michigan songs as I hunted for jazz and ragtime sheet music. I was especially inter- SOCIETY FOR AMERICAN MUSIC ested in the Michigan fight song, “The (formerly The Sonneck Society) Victors”, composed by Louis Elbel of South Bend, Indiana, in early 1899. Elbel’s family * * * Opportunity to advertise * * * owned and operated Elbel Brothers, a music MEMBERSHIP DIRECTORY AND HANDBOOK—2003 store in South Bend, and Louis was bringing Specifications and Rates for Advertisements The Membership Directory and Handbook is published in the early spring of each year with names and “The Victors” into print in May 1899, just addresses current to mid-January. It includes each member’s preferred mailing address, institutional affil- at the time John Phillip Sousa was scheduled iation, telephone, e-mail and fax numbers as well as codes indicating fields of research interest. The list to come to Ann Arbor and play a concert is indexed by state and zip code, and by the interest fields. The Directory also includes the Society's bylaws, committee structures, and other useful information so it is useful throughout the year. which would benefit the Women’s League. Circulation: 1,200 copies. About 150 of these go to libraries. (The band’s price was $400; anything over SUBMISSION DEADLINE: 1 February 2003 that amount would go to the League.) To reserve, call Mariana Whitmer at (412) 624-3031 or E-mail: [email protected] As Sousa was rehearsing his band to warm Mail to: Society for American Music, 405 Bellefield Hall, University of Pennsylvania, Pittsburgh, PA up for the concert, Louis Elbel approached 15260. Fee must be included with copy. Tear sheets will be sent after publication. MECHANICAL SPECIFICATIONS AND PRICES Sousa to see if he would be willing to play Overall Page size: 8 3/8" x 5 3/8" (page height x width) “The Victors” at the concert. Since Elbel Photo-ready black and white mechanical or electronic files (PC format only) required: 1 1 handed Sousa a complete set of parts for every Full page ad: 7 ⁄4" high x 4 ⁄2" wide last page: $150.00 inside page: $100.00 member of the band, it was easy for Sousa’s ELECTRONIC FILES ENCOURAGED: men to run through the number, and it was Submit jpeg, gif, or PDF files in PC format to [email protected] easy for Sousa to agree to perform it the night

40 The Bulletin of the Society for American Music • Vol. XXVIII, No. 3 C OMMUNICATIONS

To the Editor: On “Raynor” vs. “Rayner” DIED, on Wednesday after- noon, RAYNOR TAYLOR, profes- Arthur Schrader’s essay, “Emotional Taylor sor of music, in the 78th year of his Baggage and Two National Anthems,” Bunker Clark, why do you think there age. His friends and acquaintances seems chiefly concerned with the melodies has been a solution to the question of which are invited to attend his funeral, of national songs and their changing associ- is the correct spelling of Raynor or Rayner from his late residence, in Pear, near ations. So it is surprising that he does not Taylor? Dock-street, this afternoon, at 4 mention either the composer of “ I am a musicologist living in the o’clock. The members of the Musical Spangled Banner,” John Stafford Smith, or Philadelphia area and have done work on Fund Society are particularly invited the words of the original drinking song, “To Raynor Taylor. The initial R. alone was used to attend. Anacreon in Heaven,” for which the tune on the cover of a publication of his music in was famously composed. England before he came to Philadelphia. On It appears that no records of his birth Perhaps he is not sure whether Smith programs he often was referred to as R. have been found, and I do not find it unrea- was indeed the composer. The question was Taylor. In the City Directories of his time, I sonable to refer to this man by the two disputed by some earlier writers. But in have seen spellings as Raynor, Rayner and spellings that were used during his lifetime. 1977 all doubts were put to rest in William even René. It is quite possible that he used Lichtenwanger’s article “The Music of the both Raynor and Rayner, with both Myrl Duncan Hermann, Ph.D. Star Spangled Banner: From Ludgate Hill to spellings referring to the same man. There Capitol Hill,” Library of Congress Quarterly has also been an argument that Louis Journal, 34/3: 136-70, also published as a Madeira published his book about The separate monograph. Lichtenwanger also Musical Fund Society in 1896, long after Attention SAM Musicians! treated the subsequent history of the song in Taylor’s death. However, Madeira had access Despite the absence of its outstand- some detail. As Schrader thinks that Oscar to the records of the Musical Fund Society ing director, Craig Parker, the SAM Sonneck’s essays of 1909 and 1914 “are still while Taylor was very active. Band will be performing in Tempe. the best studies of ‘The Star Spangled The day after Taylor’s death, the news- Dianna Eiland has graciously accepted Banner’,” I can only conclude that he has paper Poulson’s American Daily Advertiser on to step in and lead interested SAM not seen Lichtenwanger’s far fuller and more 18 August 1825 included this obituary: members in another rousing perfor- conclusive account. mance. Bring your instruments! For more information contact Dianna at Sincerely, [email protected] Nicholas Temperley

29th Annual Conference of the Society The School of Music and the temporary music in the Katzin Concert residents past and present. The park also Herberger College of Fine Arts of Arizona Hall on the campus of ASU followed by a has a system of hiking trails for those who State University are pleased to host the reception hosted by the Herberger College would like to explore them. The remaining 29th Annual Conference of the Society of Fine Arts. During the conference there opportunity will be a tour of Taliessen for American Music from 26 February to will be a number of musical performances West, the Frank Lloyd Wright studio in 2 March 2003. The site for the meeting is that highlight the diverse cultures of the Scottsdale. We will have plenty of infor- the Phoenix Sheraton Hotel, conveniently region. We are planning tours for Friday mation about shopping, hiking trails, and located between Tempe and Phoenix, close afternoon that will allow you to experience golf courses throughout the area for your to the ASU campus as well as the shops the culture of the Valley and to explore the convenience. As a highlight of the meeting and restaurants of Downtown Tempe. It is desert landscape for which the region is the Society will present Mike Seeger with a short drive to the Botanical Gardens, famous. There will be a tour of the Heard this year’s honorary membership. Papago Park, with its hiking and climbing Museum of Native American Culture, the With the varied program, the unique trails, and Tempe Beach Park, with its sail highlight of which will be a preview of the performances and our version of late win- boats, picnic areas and jogging walking juried art exhibition opening that weekend ter weather, this promises to be an exciting trails. Scottsdale, which features notable art as part of their annual Native American and memorable conference. We look for- galleries, unique shopping experiences and Guild Market. You will also have the ward to welcoming you to the Valley of the famed dining, is also a short distance away. opportunity to visit Boyce-Thompson Sun. We are planning a number of special Arboretum, a park east of Phoenix in Look for more information at the events for your visit to Tempe. Friday which you will see plants native to Arizona SAM website: www.american-music.org. evening we will feature a concert of con- and learn about the uses made of them by

The Bulletin of the Society for American Music • Vol. XXVIII, No. 3 41 C ONFERENCE A NNOUNCEMENTS

Edinboro University of Pennsylvania is The Experience Music Project of Experience Music Project, which connects sponsoring The Heritage and Legacy of Seattle, Washington, announces its Second academics, journalists, musicians, industry Harry T. Burleigh, the first national confer- Annual Pop Conference, Skip a Beat: figures, and anyone else interested in ambi- ence on Erie-born African-American com- Challenging Popular Music Orthodoxy tious music writing that crosses disciplinary poser, 2-5 April 2003. The keynote speaker from 10-13 April 2003. walls. Our first conference featured keynotes is Samuel A. Floyd, Jr. Conference activities “The blues had a baby and they called it by Robert Christgau and Simon Frith, as include lectures, lecture-recitals, singalongs, rock and roll.” For decades now, a particular well as papers by Gary Giddins, Deena workshops, evening concerts and outreach story of popular music, with rock and the Weinstein, Luc Sante, Simon Reynolds, Jon to local schools. Among the presenters and baby boom generation at its core, has Pareles, Jason Toynbee, Sarah Dougher, performers, most of whom are colleagues in grabbed the center of most histories. Geoffrey O’Brien, Susan Fast, and many the Society for American Music, are Doris Similarly, from bluegrass to reggae to hip- others. A volume of the proceedings is cur- McGinty, Ann Sears, John Graziano, Rae hop, there’s often a “golden age” associated rently being readied for publication, most Linda Brown, Moses Hogan, Willis with a specific style of music. What accounts likely with Harvard Press. The program Patterson, Josephine Harreld Love, Guthrie for particular moments achieving greatness? committee for this year’s conference includes Ramsey, Arthur C. Jones, Horace C. Boyer, Why have certain narratives assumed such Daphne Brooks (Princeton), Robert soprano Louise Toppin, tenor William A. power? What effect do these valorizations Christgau (Village Voice), Shannon Duddley Brown, and bass-baritone Oral Moses. A have on the making, marketing, consump- (University of Washington), critic Greil choral festival of local church and commu- tion, or longevity of music? Marcus, Ann Powers (EMP), Kelefa Sanneh nity choirs will begin the conference, and For this year’s Pop Conference, we invite (New York Times), Steve Waksman (Smith), evening performances will include appear- papers from any perspective that look Gayle Wald (George Washington), Robert ances by the McIntosh County Shouters and toward a new interpretive synthesis or a bet- Walser (UCLA), and Eric Weisbard (EMP). the Morehouse Glee Club. A conference ter justification of the old one. The hope is The conference will feature a variety of website is under construction which will be that, rather than critiquing the longing for panels, keynotes, and performances. We linked to the Edinboro University Music authenticity, participants will suggest alter- welcome maverick suggestions and can Department home page. nate viewpoints. Possible topics include, but accommodate nearly any form of technolog- The Burleigh conference will be held in are by no means limited to, the ideas men- ical presentation. Proposals should include a conjunction with an African Studies confer- tioned above as well as: 250-word-or-fewer abstract of the paper, a ence featuring Ali A. Mazrui, Albert • African-American and Latino perspec- 50-word biography of the presenter, pre- Schweitzer Professor in the Humanities and tives on the “rock” story ferred affiliation/title, and complete contact Director of the Institute of Global Cultural • Putting jazz, show tunes, and classical info. Please send all proposals by 30 Studies at Binghamton University, State back into the picture November 2002, to Eric Weisbard at University of New York, as keynote speaker. • The global influence of disco [email protected]. Email submissions Edinboro is located just 20 miles from • The impact of new developments, from are preferred, but submissions may also be Burleigh’s birthplace in Erie, Pennsylvania, hip-hop to electronica, on the way we sent through US mail to: in the rolling hills of Northwestern value the past Pennsylvania. Among the many attractions • Post-baby boom, late-20th century Eric Weisbard of the area are the Lake Erie Bayfront; socio-political effects on musicians: e.g. Experience Music Project Presque Isle Park, a lovely peninsula and civil rights, immigration, feminism, gay 2901 Third Avenue nature preserve; and the wineries of liberation, and globalization Suite 400 Northern Pennsylvania, and Northwestern • The sound of music, rather than lyrics, Seattle, WA 98121 New York State. More information can be as an ongoing interpretive challenge obtained at: www.edinboro.edu. • Alternative rock, a decade of alternatives For more information on last year’s Pop later Conference and updates on 2003, go to: • The links between musical genres and http://www.emplive.com/visit/education/ literary genres such as science fiction and pop_music.asp mysteries The Pop Conference is an annual event, Members: sponsored by the Seattle museum Renew for 2003 Online! Visit www.american-music.org for details

42 The Bulletin of the Society for American Music • Vol. XXVIII, No. 3 C ONFERENCE A NNOUNCEMENTS

The 2003 Annual Convention of the The Waltz: Re-Examining and Re- The newly formed Center for American Organ Historical Society will feature instru- Interpreting a Popular Dance (A Music in The University of Texas at Austin ments by 18th and 19th century Symposium in Honour of Robert Falck), a School of Music announces a conference on Pennsylvania German organ builders: four one-day conference on Saturday, 1 March Popular Music and American Culture by David Tannenberg, three by Samuel 2003. This conference is sponsored by the 20-23 November 2002. This conference Bohler, two by Thomas Dieffenbach, and graduate students in musicology at the will mark the inaugural event of the Center one each by Joel Kantner and Conrad Doll, University of Toronto in conjunction with for American Music, David Neumeyer, the latter built 1800 in Lancaster the division’s Symposium Series in Chair. Pennsylvania. Musicology and Theory. The keynote speak- The schedule of events includes 23 con- The convention, centered in Harrisburg er will be Robert Falck. ference papers, two keynote addresses and a Pennsylvania, extends 19-26 June 2003 and The waltz inhabits the sonorous realm panel discussion on Music, Popular Culture involves daily trips on coach buses to loca- of the immediately familiar, able instantly and the Academy. The full conference pro- tions of historic instruments all around cen- to evoke the ballrooms of nineteenth cen- gram, registration material and information tral Pennsylvania: Lancaster, York, Lebanon, tury Vienna and Paris with a single measure about lodging can be found at the website: Altoona, Dannville, and various small towns of music. Much of the scholarly work on http://cam.music.utexas.edu/Pop and country churches. Also included: sever- the waltz has focussed on composers such Conference.htm. al organ by the leading 19th-century Boston as Johann Strauss II, Joseph Lanner and If you have any questions about the con- firm of Hook and Hastings and of early Emil Waldteufel, and on the waltz as a his- ference, please contact Jim Buhler 20th-century Boston builder Ernest M. torical dance form. However, the organizers ([email protected]). Skinner. A rarity: the large, restored two- of this conference are seeking papers which The list of participants includes the fol- manual Carl Barkhoff at St. Joseph’s go beyond the boundaries of traditional lowing SAM members: Church, Lancaster, Pennsylvania. waltz scholarship and recognize the waltz as Joanna Demers (University of Southern Each instrument is demonstrated, either both a potent musical/cultural trope and as California) in a half-hour day-time recital or a full- an important archetype of Western culture. Neil Lerner (Davidson College) length evening recital, and each demonstra- Suggested topics include, but are not limit- David Neumeyer (The University of tion includes the audience singing of a hymn ed to: Texas at Austin) or other large-group song to show the • the waltz in 19th century opera or Brian Robison (Massachusetts Institute instrument’s capabilities in that regard. operetta of Technology) Performers for 2003 include Erik Suter • the waltz in musical comedy Mina Yang (San Francisco of Washington National Cathedral, Ken • the popular waltz song (potentially dif- Conservatory of Music Cowan of Westminster Choir College, ferent topics) James Darling of Bruton Parish Church in • the waltz as a staging convention for Williamsburg, Virginia, Bruce Stevens, well- film, theatre known Josef Rheinberger performer, Susan • sociology of the waltz Hegberg of Susquehanna University, Anne • the waltz in instrumental music (sym- Marie Rigler of Penn State University, Karl phony, suite, solo piano music) E. Moyer of Millersville University, and • the waltz in ballet SAM Silent Auction some twenty others. • semiotics of the waltz Harrisburg is easily accessible via Do you have books, CDs, music, etc. Harrisburg International Airport, the his- DEADLINE FOR ABSTRACTS (250 you no longer need? toric and restored Amtrak station, or major words): 1 DECEMBER 2002 and should interstate highways. be submitted in the body of an email to Bring them to the next SAM meeting Registration materials are available at the Teresa Magdanz ([email protected]) in Tempe, AZ society website: www.organsociety.org. or Alex Carpenter (alex.carpenter@ and donate them to the For further information: Karl E. Moyer utoronto.ca), or by FAX: (416) 964-1364. Silent Auction. (717) 397-8035 Start collecting your donations now! The auction proceeds go directly to the SAM Student Travel Fund. If you have questions please contact Silent Auction Chair, Dianna Eiland, at [email protected] or 703-765-8660.

The Bulletin of the Society for American Music • Vol. XXVIII, No. 3 43 Awards of the Society for American Music

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

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