Open Access Musicology VOLUME ONE Edited by Daniel Barolsky and Louis Epstein Copyright © 2020 by Daniel Barolsky and Louis Epstein Lever Press (leverpress.org) is a publisher of pathbreaking scholarship. Supported by a consortium of liberal arts institutions focused on, and renowned for, excellence in both research and teaching, our press is grounded on three essential commitments: to be a digitally native press, to be a peer- reviewed, open access press that charges no fees to either authors or their institutions, and to be a press aligned with the ethos and mission of liberal arts colleges. This work is licensed under the Creative Commons Attribution- NonCommercial-NoDerivatives 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA. The complete manuscript of this work was subjected to a fully closed (“double blind”) review process. For more information, please see our Peer Review Commitments and Guidelines at https://www.leverpress.org/peerreview DOI: https://doi.org/10.3998/mpub.12063224 Print ISBN: 978-1-64315-021- 5 Open access ISBN: 978-1-64315-022- 2 Published in the United States of America by Lever Press, in partnership with Amherst College Press and Michigan Publishing Contents Member Institution Acknowledgments v Preface vii Acknowledgments ix Cracking the Code: What Notation Can Tell Us About Our Musical Values 1 S. Andrew Granade Ancient Mesopotamian Music, the Politics of Reconstruction, and Extreme Early Music 31 Samuel Dorf An Intermedia Approach to Seventeenth- Century English Popular Song Culture 61 Sarah F. Williams Instrumental Music in Early Seventeenth- Century Italy: Instruments as Vehicles of Discovery 85 Rebecca Cypess MacDowell’s Vanishing Indians 105 Dan Blim Jenny Lind and the Making of Mainstream American Popular Music 131 Julia Chybowski Listening to Music History 151 Nathan C. Bakkum Member Institution Acknowledgments Lever Press is a joint venture. This work was made possible by the generous support of Lever Press member libraries from the follow- ing institutions: Adrian College Denison University Agnes Scott College DePauw University Allegheny College Earlham College Amherst College Furman University Bard College Grinnell College Berea College Hamilton College Bowdoin College Harvey Mudd College Carleton College Haverford College Claremont Graduate Hollins University University Keck Graduate Institute Claremont McKenna College Kenyon College Clark Atlanta University Knox College Coe College Lafayette College Library College of Saint Benedict / Lake Forest College Saint John’s University Macalester College The College of Wooster Middlebury College Morehouse College St. Olaf College Oberlin College Susquehanna University Pitzer College Swarthmore College Pomona College Trinity University Rollins College Union College Santa Clara University University of Puget Sound Scripps College Ursinus College Sewanee: The University of the Vassar College South Washington and Lee Skidmore College University Smith College Whitman College Spelman College Willamette University St. Lawrence University Williams College vi MeMber InstItutIon AcknowledgMents Preface In the fall of 2015, a collection of faculty at liberal arts colleges began a conversation about the challenges we faced as instructors: Why were there so few course materials accessible to undergrad- uates and lay readers that reflected current scholarly debate? How can we convey the relevance of studying music history to current and future generations of students? And how might we represent and reflect the myriad, often conflicting perspectives, positions, and identities that make up both music’s history and the writers of history? Here we offer one response to those questions. Open Access Musicology is a free collection of essays, written in an accessible style and with a focus on modes of inquiry rather than content coverage. Our authors draw from their experience as scholars but also as teachers. They have been asked to describe why they became musicologists in the first place and how their individual paths led to the topics they explore and the questions they pose. Like most scholarly literature, the essays have all been reviewed by experts in the field. Unlike all scholarly literature, the essays have also been reviewed by students at a variety of institutions for clarity and relevance. These essays are intended for undergraduates, graduate stu- dents, and interested readers without any particular expertise. They can be incorporated into courses on a range of topics as standalone readings or used to supplement textbooks. The topics introduce and explore a variety of subjects, practices, and methods but, above all, seek to stimulate classroom discussion on music his- tory’s relevance to performers, listeners, and citizens. Open Access Musicology will never pretend to present complete histories, cover all elements of a subject, or satisfy the agenda of every reader. Rather, each essay provides an opening to further contemplation and study. We invite readers to follow the thematic links between essays, pursue notes or other online resources provided by authors, or simply repurpose the essay’s questions into new and exciting forms of research and creativity. – Daniel Barolsky (Editor) and Louis Epstein (Associate Editor) viii PrefAce Acknowledgments A new undertaking always requires a leap of faith, but this undertaking— making cutting- edge scholarship accessible and freely available for use in undergraduate classrooms— was unprec- edented enough that it required a greater leap than usual. The edi- tors are grateful to so many individuals and institutions who made that leap with us. Early work on this project was supported by a Faculty Career Enhancement Program grant from the Associated Colleges of the Midwest (ACM) in collaboration with the Andrew W. Mellon Foundation, and later by the ACM in collaboration with the Teagle Foundation. Many thanks to Brian Williams and Ed Finn at the ACM for their help along the way. In addition, St. Olaf College and Beloit College provided various kinds of support, logistical as well as financial, and our colleagues’ enthusiasm for the project has sustained us at various times. We were lucky to find kindred spirits in the burgeoning open- access publishing world. At Lever Press and the University of Mich- igan Press, Mark Edington, Mary Francis, and Rebecca Welzenbach provided critical support in the early stages of the project, and Beth Bouloukos and Amanda Karby shepherded us through the publica- tion process. We are also grateful to Eden Kaiser and David Wilson for their eagle- eyed copyediting. The Editorial Board of Open Access Musicology— Ryan Raul Bañagale (Colorado College), Sara Ceballos (Lawrence University), Sarah Day- O’Connell (Skidmore College), Sara Haefeli (Ithaca College), Eric Hung (Rider University and Music of Asian Amer- ica Research Center), Mary Natvig (Bowling Green State Univer- sity), and Anna Schultz (University of Chicago)— deserves special recognition for behind- the- scenes work, including peer reviews, author recruitment, and various kinds of institutional support, often financial. We thank our Advisory Board, too, for their advice and support. We are grateful to those who posed insightful questions and offered feedback at presentations on Open Access Musicology at the 2017 Teaching Music History Conference in Boston and at the 2017 meeting of the American Musicological Society in Rochester. Open Access Musicology was partly inspired by presentations by Sara Haefeli and Mary Natvig at the 2015 Teaching Music History Conference. After the conference, Daniel Barolsky first developed the idea through conversations with Sara, Louis Epstein, and oth- ers, but it never would have gotten underway without the cru- cial, early interventions of Ryan Bañagale and Sara Ceballos, who joined Daniel and Louis at the University of Chicago in August 2016 to jumpstart the project. Finally, we express our profound gratitude to all those who reviewed the essays in this inaugural collection, including not just our scholarly peer reviewers but also dozens of teachers and stu- dents: you made this work better. And to the authors whose fab- ulous work we are proud to present here, we thank you for your hard work, your patience, and your willingness to take that leap of faith with us. You are making musicology better. Daniel Barolsky, Editor Louis Epstein, Associate Editor November 2020 x AcknowledgMents CRACKING THE CODE What Notation Can Tell Us About Our Musical Values S. Andrew Granade As an undergraduate student, I knew the word musicology as my high school piano teacher was a musicologist, but I didn’t know much beyond the word. With two historians as parents (my mother taught high school and my father college), I was already oriented toward a love of history, but thought I wanted to be a pianist. That career path changed when my collegiate piano teacher began asking me questions about the background of composers I was learning and their styles. I came to love digging in the library and ultimately chose musicology for my graduate studies. I also developed a fascination with music of the present and recent past— as a pianist, I felt it spoke to my current life in a deeper way than music from earlier centuries, and I enjoyed the challenge of fig- uring out how to play effectively with a tape recording or deciphering a cryptic graphic notation. Then I discovered