Music in the USA: A Documentary Companion

Contents

• Preface
• Introduction
• Acknowledgements
• Table of Contents
• List of Illustrations
• Figures and Graphics
• 1540-1770
• 1 Early Encounters between Indigenous Peoples and European Explorers, 1540-1642 (Castaneda, Drake, de Meras, Smith, Wood)
• 2 From the Preface to the Bay Psalm Book (1640)
• 3 Four Translations of Psalm 100 (Tehilim, Bay Psalm Book, 1640 and 1698, Watts)
• 4 From the Diaries of Samuel Sewall
• 5 The Ministers Rally for Musical Literacy, 1720-21 (Mather, Walter, Symmes)
• 6 Benjamin Franklin Advises His Brother on How to Write a Ballad and How Not to Write like Handel (ca. 1764)
• 7 Advertisements and Notices from Colonial Newspapers, 1716-1774
• 8 Social Music for the Elite in Colonial Williamsburg in the 1750s/1770-1830
• 9 Christopher Crotchet, Singing Master from Quavertown
• 10 Singing the Revolution (Adams, Dickinson, Greeley)
• 11 Elisha Bostwick Hears a Scots Prisoner Sing Gypsie Laddie in 1777
• 12 A Sidebar into Ballad Scholarship ca.1880-1970: The Wanderings of The Gypsy Laddie (Child, Sharp, Coffin, Bronson)
• 13 William Billings and the New Psalmody, 1770-1794 (Billings, Gould)
• 14 Daniel Read on Pirating and Scientific Music, ca. 1790-1830
• 15 Padre Narciso Duran Describes Musical Training at the Mission San Jose, 1813-1815
• 16 Moravian Musical Life at Bethlehem in the 1800s (Henry, Till, Bowne)
• 17 Reverend Burkitt Brings Camp Meeting Hymns from Kentucky to North Carolina in 1803
• 18 John Fanning Watson and The Errors in Methodist Worship (1819)
• 19 Reverend James B. Finley and Mononcue Sing Come Thou Fount of Every Blessing in 1823
• 20 Turn-of-the Century Theater Songs from Reinagle, Rowson, and Carr: America, Commerce, and Freedom and The Little Sailor Boy/1830-1870
• 21 Thomas D. Rice Acts Out Jim Crow and Cuff, in the 1830s
• 22 William M. Whitlock, Banjo Player for the Virginia Minstrels in the 1850s
• 23 Edwin P. Christy, Stephen Foster, and Ethiopian Minstrelsy
• 24 Stephen Foster's Legacy, ca. 1845-1960 (Foster, Gordon, Robb, Simpson, Willis, Galli-Curci, Kuller and Webster, Charles)
• 25 The Fasola Folk, The Southern Harmony and The Sacred Harp, ca. 1830-1860 (Walker, White, and King )
• 26 A Sidebar into the Discovery of Shape-Note Music by a National Audience (Jackson, the 1991 Edition)
• 27 The Boston Public Schools Set a National Precedent in Music Education in 1837
• 28 Music Education for American Girls in the 1850s
• 29 Lorenzo Da Ponte Recruits an Italian Opera Company for New York (1831)
• 30 Early Expressions of Cultural Nationalism in the 1850s (Hopkins, Fry, Putnam's Monthly)/31. John S. Dwight Remembers How He and His Circle Were But Babes in Music
• 32 George Templeton Strong Hears the American Premiere of Beethoven's Fifth in 1841
• 33 German Americans Adapting and Contributing to Musical Life in the Mid 1800s
• 34 Emil Klauprecht's German-American novel, Cincinnati, oder die Geheimnisse des Westens, 1854
• 35 P. T. Barnum and the Jenny Lind Fever in 1850
• 36 Miska Hauser, Hungarian Violinist, Pans For Musical Gold in 1853
• 37 From the Journals of Louis Moreau Gottschalk
• 38 The 'Four-Part Blend' of the Hutchinson Family
• 39 Walt Whitman's Conversion to Opera in the 1850s
• 40 Clara Kellogg and the Memoirs of an American Prima Donna in the 1860s and '70s
• 41 Frederick Douglass from My Bondage and My Freedom, 1855
• 42 Harriet Beecher Stowe and Two Scenes from Uncle Tom's Cabin, 1852
• 43 From Slave Songs of the United States, 1867
• 44 A Sidebar into Memory: Slave Narratives from the Federal Writers' Project, 1936-1938
• 45 George F. Root Recalls How He Wrote a Classic Union Song
• 46 A Confederate Girl's Diary during the Civil War
• 47 Soldier-Musicians from the North and the South Recall Duties on the Front
• 48 Patrick S. Gilmore and the Golden Age of Bands (Newspaper review, Herbert)
• 49 Ella Sheppard Moore, a Fisk Jubilee Singer in the 1870s
• 50 Theodore Thomas and His Musical Manifest Destiny (Rose Fay Thomas, Theodore Thomas)/1880-1920
• 51 John Philip Sousa -Excerpts from his Autobiography
• 52 Why is a Good March like a Marble Statue? (Pryor, Fennell)
• 53 Willa Cather Mourns the Passing of the Small-Town Opera House
• 54 Henry Lee Higginson and the Founding of the Boston Symphony Orchestra in 1881
• 55 American Classical Music Goes to the Paris World's Fair, 1889
• 56 George Chadwick's Ideals for Composing Classical Concert Music in the 1890s
• 57 Late 19th-Century Cultural Nationalism: The Paradigm of Dvorak (Creelman, Paine, Burleigh)
• 58 Henry Krehbiel Explains a Critic's Craft and a Listener's Duty in 1896
• 59 Amy Fay Tackles the Woman Question in 1900
• 60 Amy Beach, Composer, on Why I Chose My Profession (1914)
• 61 Edward MacDowell, Poet-Musician, Remembered (Currier, Gilman)
• 62 Paul Rosenfeld's Manifesto for American Composers, 1916
• 63 From the Writings of Charles Ives/64, Frederic Louis Ritter Looks for the People's Song (1884)
• 65 Emma Bell Miles on Some Real American Music (1905)
• 66 Frances Densmore and the Documentation of American Indian Songs and Poetry
• 67 A Sidebar into National Cultural Policy: The Federal Cylinder Project (1979)
• 68 Charles K. Harris on Writing for Tin Pan Alley
• 69 Scott Joplin, Ragtime Visionary (Scott Joplin, Lottie Joplin)
• 70 A Sidebar into the Ragtime Revival of the 1970s: William Bolcom reviews The Collected Works of Scott Joplin
• 71 James Reese Europe Credits Men of His Blood with Introducing Modern Dances in the 1910s
• 72 Irving Berlin on Love-Interest As a Commodity in Popular Songs (1915)
• 73 Ferdinand Jelly Roll Morton Describes New Orleans and Its Jazz Scene, 1920-1950
• 74 Bessie Smith, Artist and Blues Singer (Press notice, Bailey, Schuller)
• 75 Thomas Andrew Dorsey Brings the People Up and Carries Himself Along
• 76 Louis Armstrong in His Own Words
• 77 Gilbert Seldes Waves the Flag of Pop
• 78 Al Jolson and The Jazz Singer
• 79 Carl Stalling: Master of Cartoon Music: An Interview
• 80 A Sidebar into Postmodernism: John Zorn Turns Carl Stalling into a Prophet
• 81 Alec Wilder Writes Lovingly about Jerome Kern
• 82 George Gershwin Surveys Fifty Years of American Music
• 83 William Grant Still, Pioneering African American Composer (Still, Locke, Still)
• 84 The Inimitable Henry Cowell as described by the Irrepressible Nicolas Slonimsky
• 85 Ruth Crawford on Dissonant Music
• 86 River Sirens, Lion Roars, All Music to Varese
• 87 Leopold Stokowski and Debatable Music
• 88 Henry Leland Clark on the Composer's Collective
• 89 Marc Blitzstein In and Out of the Treetops of The Cradle Will Rock
• 90 Samuel Barber and the Controversy around the Premiere of Adagio for Strings (Downes, Pettis, Menotti, Harris)
• 92 Arthur Berger Divides Aaron Copland into Two Styles
• 93 Aaron Copland on the The Personality of Stravinsky
• 94 Roger Sessions Describes the American Period of Arnold Schoenberg (Sessions, Schoenberg, Sessions)
• 95 Uncle Dave Macon, Banjo Trickster at the Grand Ole Opry
• 96 The Bristol Sessions and Country Music
• 97 A Sidebar into the Folk Revival: Harry Smith's Canon of Old-Time Recordings
• 98 Zora Neale Hurston on Spirituals and Neo-Spirituals
• 99 Emma Dusenbury, Source Singer, Describes her Hard Times (1941)
• 100 John and Alan Lomax Propose a Canon for American Folk Song (1947)
• 101 Woody Guthrie Praises the Spunkfire Attitude of a Folk Song (1948)
• 102 Fred Astaire Dances like a Twentieth-Century American (Williams)
• 103 The Innovations of Oklahoma! (de Mille, Engel)
• 104 Duke Ellington on Swing as a Way of Life
• 105 Malcolm X Recalls the Years of Swing
• 106 The Many Faces of Billie Holiday (Holiday, Wilson, Bennett)
• 107 Ralph Ellison and the Birth of Bebop at Minton's, 1950-1975
• 108 Ella Fitzgerald On Stage (Peterson)
• 109 Leonard Bernstein Finds His Way to the American Musical
• 110 Stephen Sondheim on Writing Theater Lyrics
• 111 Muddy Waters Explains Why It Doesn't Pay to Run from Trouble
• 112 Elvis Presley in the Eye of Musical Twister (newspaper reviews, Gould, Lewis)
• 113 Chuck Berry in His Own Words
• 114 Greil Marcus and the New Rock Criticism in the 1970s
• 115 The Five String Banjo: Hints from the 1960s Speed-Master, Earl Scruggs
• 116 Pete Seeger, a TCUSAPSS, Sings Out!
• 117 Bob Dylan Turns Liner Notes into Poetry
• 118 Janis Joplin Grabs Pieces of Our Hearts (Joplin, Graham)
• 119 Handcrafting the Grooves in the Studio: Aretha Franklin at Muscle Shoals (Wexler)
• 120 Jimi Hendrix, Virtuoso of Electricity (Hendrix, Bloomfield)
• 121 Amiri Baraka Theorizes a Black Nationalist Aesthetic
• 122 Charles Reich on The Music of Consciousness III
• 123 McCoy Tyner on The Jubilant Experience of John Coltrane's Classic Quartet
• 124 Miles Davis - Excerpts from his Autobiography
• 125 A Vietnam Vet Remembers Rocking and Rolling in the Mud of War (Rodriguez, Beaudoin and Rodriguez)
• 126 George Crumb and Black Angels--A Quartet in Time of War
• 127 Milton Babbitt on Electronic Music (Brody and Miller, Babbitt)
• 128 Edward T. Cone Satirizes Music Theory's New Vocabulary in the 1960s
• 129 Mario Davidovsky, An Introduction (Chasalow)
• 130 Elliot Carter on the 'Different Time Worlds' in String Quartets No. 1 and 2
• 131 John Cage, Words and Music For Changes (Cage, Anderson)
• 132 Harold Schonberg on Art and Bunk, Matter and Anti Matter
• 133 Pauline Oliveros, Composer and Teacher
• 134 Steve Reich on Music as a Gradual Process, 1975-2000
• 135 Star Wars meets Wagner (Williams, Tomlinson)
• 136 Tom Johnson--What is Minimalism Really About?
• 137 Morton Feldman and His West German Fan Base (Feldman, Post)
• 138 Philip Glass and the Roots of Reform Opera
• 139 Laurie Anderson, Performance Artist (Anderson, Gordon)
• 140 Meredith Monk and the Revelation of Voice
• 141 Recapturing the Soul of the American Orchestra (Duffy, Tower)
• 142 Two Economists Measure the Impact of Blind Auditions between 1960 and 2000
• 143 John Harbison on Modes of Composing
• 144 Wynton Marsalis on Learning from the Past for the Sake of the Present
• 145 John Adams, an American Master
• 146 The Incorporation of the American Folklife Center
• 147 Daniel Boorstin's Welcoming Remarks at the Conference on Ethnic Recordings in America (1977)
• 148 Willie Colon on Conscious Salsa
• 149 The Accordion Travels Through Roots Music (Savoy)
• 150 Santiago Jimenez, a Patriarch of Conjunto
• 151 Gloria Anzaldua on Vistas y corridos: My Native Tongue
• 152 Contemporary Native American Music and the Pine Ridge Reservation (Porcupine Singers, Frazier)
• 153 MTV and the Music Video (MoMA Exhibition of 1985, Hoberman)
• 154 Turning Points in the Career of Michael Jackson (Jackson, Jones)
• 155 Sally Banes Explains Why Breaking is Hard to Do
• 156 Two Members of Public Enemy Discuss Sampling and Copyright Law
• 157 DJ Q-bert, Master of Turntable Music (Chin)
• 158 A Press Release from the Country Music Association (1997)
• 159 Ephemeral Music: Napster's Congressional Testimony (2000)