Pub Date : 2022-12-01DOI: 10.5406/19452349.40.4.04
A. Gatdula, Clifton Boyd, Hyeonjin Park, Carlo Aguilar González, Sinem Eylem Arslan, Hanisha Kulothparan, Gerardo (Gerry) Lopez, B. V. Sengdala, Renata Yazzie
{"title":"Working Collectively: Thoughts toward a Better Music Studies from the Project Spectrum Graduate Student Committee","authors":"A. Gatdula, Clifton Boyd, Hyeonjin Park, Carlo Aguilar González, Sinem Eylem Arslan, Hanisha Kulothparan, Gerardo (Gerry) Lopez, B. V. Sengdala, Renata Yazzie","doi":"10.5406/19452349.40.4.04","DOIUrl":"https://doi.org/10.5406/19452349.40.4.04","url":null,"abstract":"","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45963616","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-01DOI: 10.5406/19452349.40.4.19
Natalia Alexis Perez
Physical fitness has long been a central preoccupation within American culture. One of the most influential publications in this area was Physical Culture. It was founded by entrepreneur and selfproclaimed “fitness guru” Bernarr Macfadden in 1899 and ran until about 1961. Macfadden did not invent the term “physical culture” but rather appropriated it from a preexisting trend that glorified health and wellness above all else. The magazine presented what its contributors felt constituted “sound health”: exercise, disease prevention, hygiene, bodily symmetry, and a balanced diet. Many of the articles in early issues of Physical Culture were opinion pieces that claimed authority by citing research in the fields of psychology, phrenology, and biology. Authors professed to know the secrets to increasing brain size and output, “supreme” bodily control, and healing. They presented readers with formulas that promised perfect physical fitness, optimized neurological function, and social superiority. The magazine’s central premise was simple. Fitness was a tool available to everyone, and there were no excuses for not improving your health. Macfadden summarized it in his nowfamous dictum that he boldly printed on the magazine’s cover: “WEAKNESS IS A CRIME. DON’T BE A CRIMINAL!”1 What if we were to read Physical Culture from a musicological perspective? Musicologists already know that music is inseparable from
{"title":"Music, Movement Culture, and the Politics of Bodily Health","authors":"Natalia Alexis Perez","doi":"10.5406/19452349.40.4.19","DOIUrl":"https://doi.org/10.5406/19452349.40.4.19","url":null,"abstract":"Physical fitness has long been a central preoccupation within American culture. One of the most influential publications in this area was Physical Culture. It was founded by entrepreneur and selfproclaimed “fitness guru” Bernarr Macfadden in 1899 and ran until about 1961. Macfadden did not invent the term “physical culture” but rather appropriated it from a preexisting trend that glorified health and wellness above all else. The magazine presented what its contributors felt constituted “sound health”: exercise, disease prevention, hygiene, bodily symmetry, and a balanced diet. Many of the articles in early issues of Physical Culture were opinion pieces that claimed authority by citing research in the fields of psychology, phrenology, and biology. Authors professed to know the secrets to increasing brain size and output, “supreme” bodily control, and healing. They presented readers with formulas that promised perfect physical fitness, optimized neurological function, and social superiority. The magazine’s central premise was simple. Fitness was a tool available to everyone, and there were no excuses for not improving your health. Macfadden summarized it in his nowfamous dictum that he boldly printed on the magazine’s cover: “WEAKNESS IS A CRIME. DON’T BE A CRIMINAL!”1 What if we were to read Physical Culture from a musicological perspective? Musicologists already know that music is inseparable from","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42794453","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-01DOI: 10.5406/19452349.40.4.11
S. Ege
{"title":"The Art of the Black Feminist Scholar-Performer","authors":"S. Ege","doi":"10.5406/19452349.40.4.11","DOIUrl":"https://doi.org/10.5406/19452349.40.4.11","url":null,"abstract":"","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46823615","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-01DOI: 10.5406/19452349.40.4.20
Nathan Platte
I might not have gotten involved with podcasts, were it not for two colleagues, an undergraduate student, and Dolly Parton. For the past two and a half years, I have studied, produced, and taught from podcasts. They have changed my relationship to American music and those who care for its many streams. In this essay, I will share some observations on how podcasts may help us reflect differently on the values that propel our work as scholars and teachers. In my case, a variety of circumstances led me to the format, which in turn facilitated forms of connection and collaboration that I had not originally envisioned. As a disclaimer and invitation, I do not offer these thoughts from a position of podcasterly prestige or authority. There are other music scholars whose work in this medium is more widely known and explicitly anchored to American music studies. But I share my account as a podcast dabbler in the hope that it may offer some reassurance: yes, you can do this too. Whether you are a podcast aficionado or simply hoping to explore alternative methods of research and teaching, the following may offer some encouragement. It helped that I have a friend who has a podcast. Trevor Harvey, my colleague at the University of Iowa, hosts Ethnomusicology Today, a podcast for the Society for Ethnomusicology in which he speaks with scholars
{"title":"Podcasts, Partnerships, and Laboratories for American Music","authors":"Nathan Platte","doi":"10.5406/19452349.40.4.20","DOIUrl":"https://doi.org/10.5406/19452349.40.4.20","url":null,"abstract":"I might not have gotten involved with podcasts, were it not for two colleagues, an undergraduate student, and Dolly Parton. For the past two and a half years, I have studied, produced, and taught from podcasts. They have changed my relationship to American music and those who care for its many streams. In this essay, I will share some observations on how podcasts may help us reflect differently on the values that propel our work as scholars and teachers. In my case, a variety of circumstances led me to the format, which in turn facilitated forms of connection and collaboration that I had not originally envisioned. As a disclaimer and invitation, I do not offer these thoughts from a position of podcasterly prestige or authority. There are other music scholars whose work in this medium is more widely known and explicitly anchored to American music studies. But I share my account as a podcast dabbler in the hope that it may offer some reassurance: yes, you can do this too. Whether you are a podcast aficionado or simply hoping to explore alternative methods of research and teaching, the following may offer some encouragement. It helped that I have a friend who has a podcast. Trevor Harvey, my colleague at the University of Iowa, hosts Ethnomusicology Today, a podcast for the Society for Ethnomusicology in which he speaks with scholars","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45409348","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-01DOI: 10.5406/19452349.40.4.18
G. Magee
{"title":"Valuing Collaboration in American Music Studies","authors":"G. Magee","doi":"10.5406/19452349.40.4.18","DOIUrl":"https://doi.org/10.5406/19452349.40.4.18","url":null,"abstract":"","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43879693","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-01DOI: 10.5406/19452349.40.4.02
Todd Decker, D. Fister, Rachel E. Jones
The journal American Music stands as an expanding body of permanent scholarship widely available in libraries and online. This corpus—up to but not including this, the 160th issue—encompasses forty volumes divided into 159 issues containing a total of 701 articles authored by 740 scholars.1 Only thirtyone articles in the history of the journal—a mere 4 percent—credit more than one author. This statistic precisely expresses in quantitative terms the predominance of singleauthor scholarship in the music disciplines. This multiauthored study, written by the current editor and editorial assistants, gathers and analyzes data on each of the 701 articles in American Music. The goal is to consider larger trends in American music studies across the last forty years, a period when scholars of American music—a growing cohort in the academy in these decades—worked to consolidate what stands today as a strong position for the topic in the music disciplines, especially historical musicology. As the oldest journal devoted to the topic, American Music provides the longest evenly distributed record of trends in the production and content of permanent scholarship in this area. For each article, authors Daniel Fister and Rachel Jones, with help from Andrew Tubbs, gathered uniform data about article author(s) and content. Data collected about authors includes gender, race, and professional
{"title":"The 701 Articles of American Music: A Quantitative Study of Forty Years of Scholarship","authors":"Todd Decker, D. Fister, Rachel E. Jones","doi":"10.5406/19452349.40.4.02","DOIUrl":"https://doi.org/10.5406/19452349.40.4.02","url":null,"abstract":"The journal American Music stands as an expanding body of permanent scholarship widely available in libraries and online. This corpus—up to but not including this, the 160th issue—encompasses forty volumes divided into 159 issues containing a total of 701 articles authored by 740 scholars.1 Only thirtyone articles in the history of the journal—a mere 4 percent—credit more than one author. This statistic precisely expresses in quantitative terms the predominance of singleauthor scholarship in the music disciplines. This multiauthored study, written by the current editor and editorial assistants, gathers and analyzes data on each of the 701 articles in American Music. The goal is to consider larger trends in American music studies across the last forty years, a period when scholars of American music—a growing cohort in the academy in these decades—worked to consolidate what stands today as a strong position for the topic in the music disciplines, especially historical musicology. As the oldest journal devoted to the topic, American Music provides the longest evenly distributed record of trends in the production and content of permanent scholarship in this area. For each article, authors Daniel Fister and Rachel Jones, with help from Andrew Tubbs, gathered uniform data about article author(s) and content. Data collected about authors includes gender, race, and professional","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48897417","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-01DOI: 10.5406/19452349.40.4.21
N. Rao
{"title":"Anti-Asian Hate and the Transpacific History of American Music; Or, Why Is \"Chinatown, My Chinatown\" Still Played?","authors":"N. Rao","doi":"10.5406/19452349.40.4.21","DOIUrl":"https://doi.org/10.5406/19452349.40.4.21","url":null,"abstract":"","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46818585","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-01DOI: 10.5406/19452349.40.4.22
Jessica A. Schwartz
{"title":"Rock 'n' Roll (Archipelagic American Music Studies)","authors":"Jessica A. Schwartz","doi":"10.5406/19452349.40.4.22","DOIUrl":"https://doi.org/10.5406/19452349.40.4.22","url":null,"abstract":"","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44298533","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-01DOI: 10.5406/19452349.40.4.24
Douglas W. Shadle
Perhaps no historical composer has sparked more public interest in recent memory than Florence Price (1888–1953). Since 2018, when Alex Ross of the New Yorker and musicologist Micaela Baranello reported on the world premiere recording of Price’s two violin concertos in expansive contextual essays, global performances of her music have skyrocketed, even despite the COVID19 pandemic. As one scholar among many endeavoring to build on biographical work by pioneers like Barbara Garvey Jackson, Mildred Denby Green, and Rae Linda Brown, I’ve come face to face with impediments to scholarship on American classical music embedded in the webs of contemporary global capitalism manifested in the classical music industry. This essay offers reflections on a few of these challenges. Documents in the Rae Linda Brown papers held at Emory University indicate that Price scholars and performers ran into significant difficulty discerning who managed the rights to Price’s catalog after her daughter’s death in 1975. By the mid1990s, however, one of Price’s grandchildren had teamed with Brown to negotiate with publishers on the Price estate’s behalf, thus solving a major quandary. During the two decades prior to Brown’s tragic death in 2017, Barbara Garvey Jackson’s boutique publishing house, ClarNan Editions, released nearly thirty editions of Price’s smaller works, while Brown herself edited Price’s Sonata in E Minor and two of her symphonies for G. Schirmer and AR Editions, respectively. Even so, a substantial percentage of Price’s catalog remained
{"title":"Capitalism and the Future of American Classical Music Scholarship","authors":"Douglas W. Shadle","doi":"10.5406/19452349.40.4.24","DOIUrl":"https://doi.org/10.5406/19452349.40.4.24","url":null,"abstract":"Perhaps no historical composer has sparked more public interest in recent memory than Florence Price (1888–1953). Since 2018, when Alex Ross of the New Yorker and musicologist Micaela Baranello reported on the world premiere recording of Price’s two violin concertos in expansive contextual essays, global performances of her music have skyrocketed, even despite the COVID19 pandemic. As one scholar among many endeavoring to build on biographical work by pioneers like Barbara Garvey Jackson, Mildred Denby Green, and Rae Linda Brown, I’ve come face to face with impediments to scholarship on American classical music embedded in the webs of contemporary global capitalism manifested in the classical music industry. This essay offers reflections on a few of these challenges. Documents in the Rae Linda Brown papers held at Emory University indicate that Price scholars and performers ran into significant difficulty discerning who managed the rights to Price’s catalog after her daughter’s death in 1975. By the mid1990s, however, one of Price’s grandchildren had teamed with Brown to negotiate with publishers on the Price estate’s behalf, thus solving a major quandary. During the two decades prior to Brown’s tragic death in 2017, Barbara Garvey Jackson’s boutique publishing house, ClarNan Editions, released nearly thirty editions of Price’s smaller works, while Brown herself edited Price’s Sonata in E Minor and two of her symphonies for G. Schirmer and AR Editions, respectively. Even so, a substantial percentage of Price’s catalog remained","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49274558","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-01DOI: 10.5406/19452349.40.4.08
Rhae Lynn Barnes, G. Goodman
A page with music printed on both sides is inserted between two pages of a 1722 book published in Paris about Native Americans in North America.1 The songs are likely from the Illinois people, possibly part of a Calumet ceremony.2 There are seven staff lines per page in treble clef with no bar lines, representing two songs, divided from one another by an unobtrusive double bar line on the first page. The first song features a predominantly quarternote melody with a repeating descending contour set to what seem to be vocables (ni na ha). The second song is longer and more melodically and rhythmically elaborate with lyrics. The page offers no titles or attribution. Features that would be of great consequence for identifying the songs or how to perform them are left out. There is no indication of tempo and no translation. The page is unusual for its time because it has music printed from engraved plates on both sides. The volume contains numerous engraved inserts—elaborate maps, detailed illustrations of dwellings, representations of cooking practices and dress—but those are only printed on one side. Printing from an engraving entailed pressing an inked metal plate into a piece of paper. This left an indentation on the page; it was messy
1722年在巴黎出版的一本关于北美原住民的书的两页之间插入了一页，两边都印着音乐。1这些歌曲可能来自伊利诺伊人，可能是Calumet仪式的一部分，在第一页上用一条不显眼的双杠线将它们分开。第一首歌以四分音符为主的旋律为特色，重复的下降轮廓似乎是人声（ni na ha）。第二首歌更长，歌词更加优美有节奏。该页面不提供标题或出处。那些对识别歌曲或如何表演歌曲有重大影响的功能被排除在外。没有节奏的指示，也没有翻译。这一页在当时是不寻常的，因为它的两面都用雕刻的盘子印着音乐。这本书包含了许多雕刻的插页——精心绘制的地图、详细的住宅插图、烹饪实践和着装的展示——但这些都只印在一面。雕刻印刷需要将一块有墨水的金属板压成一张纸。这在页面上留下了一个缩进；很乱
{"title":"Finding the \"Frontier\" in a Page of Music: Imperial Evidence and the Legacy of Settler Colonialism","authors":"Rhae Lynn Barnes, G. Goodman","doi":"10.5406/19452349.40.4.08","DOIUrl":"https://doi.org/10.5406/19452349.40.4.08","url":null,"abstract":"A page with music printed on both sides is inserted between two pages of a 1722 book published in Paris about Native Americans in North America.1 The songs are likely from the Illinois people, possibly part of a Calumet ceremony.2 There are seven staff lines per page in treble clef with no bar lines, representing two songs, divided from one another by an unobtrusive double bar line on the first page. The first song features a predominantly quarternote melody with a repeating descending contour set to what seem to be vocables (ni na ha). The second song is longer and more melodically and rhythmically elaborate with lyrics. The page offers no titles or attribution. Features that would be of great consequence for identifying the songs or how to perform them are left out. There is no indication of tempo and no translation. The page is unusual for its time because it has music printed from engraved plates on both sides. The volume contains numerous engraved inserts—elaborate maps, detailed illustrations of dwellings, representations of cooking practices and dress—but those are only printed on one side. Printing from an engraving entailed pressing an inked metal plate into a piece of paper. This left an indentation on the page; it was messy","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47638584","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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