Legacies of Power in American Music: Essays in Honor of Michael J. Budds

Cover
Half Title
Series Information
Title Page
Copyright Page
Table of Contents
Contributors
Preface
Words of Appreciation
Part I The Performance of Black America
	Chapter 1 Spheres, Progressives, and Slavery: The Long-Lingering Effect of Music and Culture Politics in the Nineteenth ...
		Separate Spheres: Towards a Female Identity
		Slavery and Abolition
		Sheet Music
			Male Professionalism: Charles and Jakob Kunkel’s Compositions
			Sheet Music at Home: “Kiss Waltz”
			Sheet Music for Minstrelsy: “Jim Crow,” “Christy’s Minstrels,” “Airs Americains,” and “Old Uncle Ned”
			“Progressive” Music: “Henry Clay’s Grand March”
		Notes
		Bibliography
	Chapter 2 Some Thoughts On the Role of Patronage in the History of Jazz
		Notes
		Bibliography
	Chapter 3 The Cox Trio: A Study in Black Show Business
		James Thomas Cox
		J.T. Cox
		Gertrude Jonny Jordan
		Appendix: Jimmie Cox’s Songs
		Notes
		Bibliography
	Chapter 4 Jelly’s “Jungle Music”: Jelly Roll Morton, Duke Ellington, and Jazz Aesthetics
		Duke’s Jungle Aesthetics
		Morton’s Jungle Aesthetic
		Aftermath and the Duke–Jelly Relationship
		Musical Jungle(s)
		Notes
		Bibliography
	Chapter 5 The Pedagogical Legacies of Three Black Gospel Pioneers: Magnolia Lewis-Butts, Sallie Martin, and Roberta Martin
		Gospel in an Old-School Environment
		Persistence and the School of Life
		Musician, After-School Pedagogue, and Surrogate Mother
		Conclusions
		Notes
		Bibliography
	Chapter 6 Beyond Category: Duke Ellington as American Piano Original
		Notes
		Bibliography
Part II Collaborations in Song
	Chapter 7 Hanns Eisler’s Hollywooder Liederbuch: Or What an Austro-German Émigré Did in Tinseltown During World War II
		Notes
		Bibliography
	Chapter 8 A Ballad for Our Times:: The Siegmeister–Hughes Connection
		Notes
		Bibliography
	Chapter 9 Songs of “Little Dixie”: The Shape-Note Hymn Arrangements of Virgil Thomson
		Influences
		Background of the Settings
			Hymns From the Old South
			Southern Hymns
		Conclusion
		Notes
		Bibliography
	Chapter 10 Traversing Musical Worlds Through Image and Sound:: Americana On Thomas Hart Benton’s Saturday Night at …
		Benton’s Musical Gatherings in Kansas City: Setting the Stage for Saturday Night at Tom Benton’s
			Harrison’s Prelude, Dance, and Fughetta (Late 1930s)
			Harrison’s Arrangement of the Folk Song “Locks and Bolts” (Late 1930s)
			A Virginal Replaces the Bentons’ Piano
			The Genesis of Saturday Night at Tom Benton’s
		The Visual Components of Saturday Night at Tom Benton’s: The Cover Drawing and the Photos
			The Cover Drawing
			The Album Photos
			Benton as Harmonica Player
		The Verbal Components of Saturday Night at Tom Benton’s: Benton’s Album Notes
			Benton, the Kansas City Philharmonic Orchestra, and Local Chamber Music
		The Quartet: Benton Captures Chamber Music in Rehearsal at His Kansas City Home
		The Sounding Components On the Decca Album: The Folk Song Arrangements
			Cindy
			Wayfaring Stranger
		Old Joe Clark
		Conclusion
		Notes
		Bibliography
Part III Critiquing the Past
	Chapter 11 In Defense of Dwight
		The Case Against Dwight
		Dwight the Optimist
		Coming to Terms With Dwight
		Notes
		Bibliography
	Chapter 12 The Merry Widow: Freedom and Feminism in the Widowhood of Mrs. H.H.A. Beach
		Of Discarded Feathers and Bits of Shell
		The American Brooding Ground
		The Fledgling Prodigy Flaps Her Wings (1867–85)
		The Bird in the Gilded Cage Chirps (1885–1910)
		The Merry Widow Waltzes (1910–44)
		The Phoenix Rises
		Notes
		Bibliography
Part IV The Analytical Perspective
	Chapter 13 Leitmotifs in Samuel Barber’s Antony and Cleopatra
		Antony and Cleopatra (The First Version)
			Cleopatra Motives
				“Salt Cleopatra”
				“Cleopatra”
				Cleo 1 and 2
				Rage: Cleo 3
				Cleopatra’s Love at First Sight (Or Cleopatra’s Sincere Love): Cleo 4
			Antony Motives
				“Antony Fishes”
				Imperial Fifths
				“My Man of Men”
				The Antony March: The Military Hero
				The Love Theme
			Juxtapositions and Other Combinations
				Love 1 and 2 + Cleo 2
				A String of Cleopatra Motives: A Leitsektion
				Love Plus “Cleopatra”
		Antony and Cleopatra (The Revised Version)
			The Second Love Duet
			“Give Me My Robe” (Revised)
			Changing the Final Leitsektion
			“My Man of Men” Again and Again
			A New Love Duet
		Notes
		Bibliography
	Chapter 14 The Left Hand Always Knows What the Right Hand Is Doing
		Degrees of Symmetry
		Inversion
		Movement I (Sostenuto)
		Triad Pairs and D4-Symmetry
		Movement II (Amabile)
		Some Set-Theoretical Properties of Inversionally Symmetrical Keyboard Writing
		Inversion Within Dyad Pairs
		Movement III (Scherzoso)
		Movement IV (Brioso)
		Notes
		Bibliography
	Chapter 15 A Study in Non-Hierarchical Coherence: Jerry Tabor’s Lemon; Birch
		UPIC
		Sonic Materials
		Compositional Process and Form
		Conclusion
		Acknowledgment
		Notes
		Bibliography
	Chapter 16 Parody and Crumb’s Voices From the Heartland, Or Double Voices in Crumb’s American Songbook VII
		Parody
		Mapping
		Troping
		Reversal
		Conclusion
		Notes
		Bibliography
Index