Music in the USA: A Documentary Companion

Contents......Page 26
List of Illustrations......Page 32
Introduction......Page 34
1540–1770......Page 40
1. Early Encounters between Indigenous Peoples and European Explorers......Page 42
2. From the Preface to the First Edition of the Bay Psalm Book......Page 50
3. Four Translations of Psalm 100 (Tehilim, Bay Psalm Book, 1640 and 1698, Watts)......Page 55
4. From the Diaries of Samuel Sewall......Page 61
5. The Ministers Rally for Musical Literacy......Page 64
6. Benjamin Franklin Advises His Brother on How to Write a Ballad and How Not to Write like Handel......Page 70
7. Social Music for the Elite in Colonial Williamsburg......Page 75
8. Advertisements and Notices from Colonial Newspapers......Page 80
1770–1830......Page 86
9. “Christopher Crotchet, Singing Master from Quavertown”......Page 88
10. Singing the Revolution......Page 94
11. Elisha Bostwick Hears a Scots Prisoner of War Sing “Gypsie Laddie”......Page 99
12. A Sidebar into Ballad Scholarship: The Wanderings of the “Gypsy Laddie”......Page 101
13. William Billings and the New Sacred Music......Page 106
14. Daniel Read on Pirating and “Scientific Music”......Page 112
15. Turn-of-the-Century Theater Songs from Reinagle, Rowson, and Carr: “America, Commerce, and Freedom” and “The Little Sailor Boy”......Page 117
16. Padre Narciso Durán Describes Musical Training at the Mission San Jose......Page 124
17. Moravian Musical Life at Bethlehem......Page 129
18. Reverend Burkitt Brings Camp Meeting Hymns from Kentucky to North Carolina in 1803......Page 134
19. John Fanning Watson and Errors in Methodist Worship......Page 137
20. Reverend James B. Finley and Mononcue Sing “Come Thou Fount of Every Blessing”......Page 140
1830–1880......Page 144
21. Thomas D. Rice Acts Out Jim Crow and Cuff......Page 146
22. William M. Whitlock, Banjo Player for the Virginia Minstrels......Page 154
23. Edwin P. Christy, Stephen Foster, and “Ethiopian Minstrelsy”......Page 157
24. Stephen Foster’s Legacy......Page 162
25. The Fasola Folk, The Southern Harmony, and The Sacred Harp......Page 172
26. A Sidebar into the Discovery of Shape-Note Music by a National Audience......Page 178
27. The Boston Public Schools Set a National Precedent for Music Education......Page 184
28. Lorenzo Da Ponte Recruits an Italian Opera Company for New York......Page 188
29. Music Education for American Girls......Page 194
30. Early Expressions of Cultural Nationalism......Page 199
31. John S. Dwight Remembers How He and His Circle “Were but Babes in Music”......Page 204
32. George Templeton Strong Hears the American Premiere of Beethoven’s Fifth......Page 210
33. German Americans Adapting and Contributing to Musical Life......Page 214
34. Emil Klauprecht’s German-American Novel Cincinnati; oder, die Geheimnisse des Westens......Page 219
35. P. T. Barnum and the Jenny Lind Fever......Page 224
36. Miska Hauser, Hungarian Violinist, Pans for Musical Gold......Page 229
37. From the Journals of Louis Moreau Gottschalk......Page 234
38. The “Four-Part Blend” of the Hutchinson Family......Page 241
39. Walt Whitman’s Conversion to Opera......Page 246
40. Clara Kellogg and the Memoirs of an American Prima Donna......Page 250
41. Frederick Douglass from My Bondage and My Freedom......Page 258
42. Harriet Beecher Stowe and Two Scenes from Uncle Tom’s Cabin......Page 264
43. From Slave Songs of the United States (1867)......Page 268
44. A Sidebar into Memory: Slave Narratives from the Federal Writers’ Project in the New Deal......Page 274
45. George F. Root Recalls How He Wrote a Classic Union Song......Page 281
46. A Confederate Girl’s Diary during the Civil War......Page 284
47. Soldier-Musicians from the North and the South Recall Duties on the Front......Page 289
48. Ella Sheppard Moore: A Fisk Jubilee Singer......Page 297
49. Patrick S. Gilmore and the Golden Age of Bands......Page 305
50. Theodore Thomas and His Musical Manifest Destiny......Page 309
1880–1920......Page 318
51. John Philip Sousa: Excerpts from His Autobiography......Page 320
52. Why Is a Good March like a Marble Statue?......Page 324
53. Willa Cather Mourns the Passing of the Small-Town Opera House......Page 332
54. Henry Lee Higginson and the Founding of the Boston Symphony Orchestra......Page 336
55. American Classical Music Goes to the Paris World’s Fair of 1889......Page 340
56. George Chadwick’s Ideals for Composing Classical Concert Music......Page 343
57. Late Nineteenth-Century Cultural Nationalism: The Paradigm of Dvorák......Page 347
58. Henry Krehbiel Explains a Critic’s Craft and a Listener’s Duty......Page 355
59. Amy Fay Tackles the “Woman Question”......Page 359
60. Amy Beach, Composer, on “Why I Chose My Profession”......Page 362
61. Edward MacDowell, Poet-Composer, Remembered......Page 369
62. Paul Rosenfeld’s Manifesto for American Composers......Page 375
63. From the Writings of Charles Ives......Page 380
64. Frédéric Louis Ritter Looks for the “People’s Song”......Page 387
65. Frances Densmore and the Documentation of American Indian Songs and Poetry......Page 391
66. A Sidebar into National Cultural Policy: The Federal Cylinder Project......Page 396
67. Charles K. Harris on Writing Hits for Tin Pan Alley......Page 400
68. Scott Joplin, Ragtime Visionary......Page 405
69. A Sidebar into the Ragtime Revival of the 1970s: William Bolcom Reviews The Collected Works of Scott Joplin......Page 410
70. James Reese Europe on the Origin of “Modern Dances”......Page 414
71. Irving Berlin on “Love-Interest as a Commodity” in Popular Songs......Page 417
72. Caroline Caffin on the “Music and Near-Music” of Vaudeville......Page 423
73. Ferdinand “Jelly Roll” Morton Describes New Orleans and the Discipline of Jazz......Page 429
1920–1950......Page 436
74. Bessie Smith, Artist and Blues Singer......Page 438
75. Thomas Andrew Dorsey “Brings the People Up” and Carries Himself Along......Page 443
76. Louis Armstrong in His Own Words......Page 448
77. Gilbert Seldes Waves the Flag of Pop......Page 453
78. Al Jolson and The Jazz Singer......Page 456
79. Carl Stalling, Master of Cartoon Music: An Interview......Page 460
80. A Sidebar into Postmodernism: John Zorn Turns Carl Stalling into a Prophet......Page 467
81. Alec Wilder Writes Lovingly about Jerome Kern......Page 470
82. George Gershwin Explains That “Jazz Is the Voice of the American Soul”......Page 474
83. William Grant Still, Pioneering African-American Composer......Page 478
84. The Inimitable Henry Cowell as Described by the Irrepressible Nicolas Slonimsky......Page 485
85. Ruth Crawford Seeger and Her “Astonishing Juxtapositions”......Page 489
86. “River Sirens, Lion Roars, All Music to Varèse”: An Interview in Santa Fe......Page 495
87. Leopold Stokowski and “Debatable Music”......Page 500
88. Henry Leland Clarke on the Composers Collective......Page 502
89. Marc Blitzstein In and Out of the Treetops of The Cradle Will Rock......Page 505
90. Samuel Barber and the Controversy around the Premiere of Adagio for Strings......Page 509
91. Virgil Thomson, Composer and Critic......Page 514
92. Arthur Berger Divides Aaron Copland into Two Styles, and Copland Puts Himself Back Together Again......Page 519
93. Aaron Copland on the “Personality of Stravinsky”......Page 526
94. The American Period of Arnold Schoenberg......Page 528
95. The Bristol Sessions and Country Music......Page 534
96. Uncle Dave Macon, Banjo Trickster, at the Grand Ole Opry......Page 539
97. A Sidebar into the Folk Revival: Harry Smith’s Canon of Old-Time Recordings......Page 541
98. Zora Neale Hurston on “Spirituals and Neo-Spirituals”......Page 545
99. The Hard Times of Emma Dusenbury, Source Singer......Page 549
100. John and Alan Lomax Propose a “Canon for American Folk Song”......Page 551
101. Woody Guthrie Praises the “Spunkfire” Attitude of a Folk Song......Page 558
102. Fred Astaire Dances like a Twentieth-Century American......Page 562
103. The Innovations of Oklahoma!......Page 566
104. Duke Ellington on Swing as a Way of Life......Page 571
105. Malcolm X Recalls the Years of Swing......Page 577
106. The Many Faces of Billie Holiday......Page 583
107. Ralph Ellison on the Birth of Bebop at Minton’s......Page 592
1950–1975......Page 598
108. Ella Fitzgerald on Stage......Page 600
109. Leonard Bernstein Charts an Epic Role for Musical Theater......Page 604
110. Stephen Sondheim on Writing Theater Lyrics......Page 609
111. Muddy Waters Explains Why “It Doesn’t Pay to Run from Trouble”......Page 614
112. Elvis Presley in the Eye of a Musical Twister......Page 619
113. Chuck Berry in His Own Words......Page 627
114. The Five-String Banjo: Hints from the 1960s Speed Master, Earl Scruggs......Page 632
115. Pete Seeger, a TCUSAPSS, Sings Out!......Page 637
116. Bob Dylan Turns Liner Notes into Poetry......Page 641
117. Janis Joplin Grabs Pieces of Our Hearts......Page 644
118. “Handcrafting the Grooves” in the Studio: Aretha Franklin at Muscle Shoals......Page 651
119. Jimi Hendrix, Virtuoso of Electricity......Page 658
120. Amiri Baraka Theorizes a Black Nationalist Aesthetic......Page 664
121. Greil Marcus and the New Rock Criticism......Page 669
122. Charles Reich on the Music of “Consciousness III”......Page 675
123. McCoy Tyner on the Jubilant Experience of John Coltrane’s Classic Quartet......Page 681
124. Miles Davis: Excerpts from His Autobiography......Page 688
125. A Vietnam Vet Remembers Rocking and Rolling in the Mud of War......Page 693
126. George Crumb and Black Angels: A Quartet in Time of War......Page 697
127. Milton Babbitt on Electronic Music......Page 700
128. Edward T. Cone Satirizes Music Theory’s New Vocabulary......Page 708
129. Mario Davidovsky: An Introduction......Page 717
130. Elliott Carter on the “Different Time Worlds” in String Quartets Nos. 1 and 2......Page 721
131. John Cage: Words and Music of Changes......Page 725
132. Harold Schonberg on “Art and Bunk, Matter and Anti-Matter”......Page 731
133. Pauline Oliveros, Composer and Teacher......Page 735
134. Steve Reich on “Music as a Gradual Process”......Page 738
1975–2000......Page 742
135. Star Wars Meets Wagner......Page 744
136. Tom Johnson Demonstrates What Minimalism Is Really About......Page 751
137. Morton Feldman and His West German Fan Base......Page 754
138. Philip Glass and the Roots of Reform Opera......Page 761
139. Laurie Anderson Does “Stand-Up” Performance Art......Page 772
140. Meredith Monk and the Revelation of Voice......Page 780
141. Recapturing the Soul of the American Orchestra......Page 782
142. Two Economists Measure the Impact of Blind Auditions......Page 787
143. John Harbison on Modes of Composing......Page 795
144. Wynton Marsalis on Learning from the Past for the Sake of the Present......Page 802
145. John Adams, an American Master......Page 810
146. The Incorporation of the American Folklife Center......Page 818
147. Daniel J. Boorstin’s Welcoming Remarks at the Conference on Ethnic Recordings in America......Page 821
148. Willie Colón on “Conscious Salsa”......Page 825
149. The Accordion Travels through “Roots Music”......Page 830
150. Conjunto Music—“A Very Beautiful Accordionate Flower”......Page 835
151. Gloria Anzaldúa on Vistas y Corridos: My Native Tongue......Page 844
152. Contemporary Native American Music and the Pine Ridge Reservation......Page 847
153. MTV and the Music Video......Page 853
154. Turning Points in the Career of Michael Jackson......Page 859
155. Sally Banes Explains Why “Breaking Is Hard to Do”......Page 865
156. Two Members of Public Enemy Discuss Sampling and Copyright Law......Page 869
157. DJ Qbert, Master of Turntable Music......Page 875
158. A Press Release from the Country Music Association......Page 878
159. Ephemeral Music: Napster’s Congressional Testimony......Page 883
A......Page 888
B......Page 889
C......Page 892
D......Page 895
F......Page 897
G......Page 899
H......Page 900
I......Page 901
J......Page 902
K......Page 903
L......Page 904
M......Page 905
N......Page 907
O......Page 908
P......Page 909
R......Page 911
S......Page 913
T......Page 917
V......Page 918
W......Page 919
Z......Page 920