Pub Date : 2022-04-01DOI: 10.5406/19452349.40.1.01
C. Lynch, P. Graff, Erin E. Bauer, C. A. Norling
{"title":"Stephen Foster and the Slavery Question","authors":"C. Lynch, P. Graff, Erin E. Bauer, C. A. Norling","doi":"10.5406/19452349.40.1.01","DOIUrl":"https://doi.org/10.5406/19452349.40.1.01","url":null,"abstract":"","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46694720","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 : 2022-04-01DOI: 10.5406/19452349.40.1.04
C. A. Norling
{"title":"Making an American Opera Career: Conductor May Valentine (1890–1974) and a Woman's Role(s) in the Business of Opera","authors":"C. A. Norling","doi":"10.5406/19452349.40.1.04","DOIUrl":"https://doi.org/10.5406/19452349.40.1.04","url":null,"abstract":"","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42964211","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 : 2022-04-01DOI: 10.5406/19452349.40.1.02
Peter Graff
On September 6, 1924, the Cleveland Gazette announced the arrival of the celebrated black musical comedy SevenEleven with a lengthy article that described the veracity of its character portrayals: “The authors of SevenEleven have striven to depict the southern ‘Negro’ in the true character, and the cast has been selected with the same point in view.”1 Appearing in the city’s daily black newspaper, this story attempted to reassure readers that SevenEleven was different from earlier black musicals that had been mired in damaging African American stereotypes. This show, according to the Gazette, was more realistic and honest. Similar claims of realism followed SevenEleven throughout its four years on the road as it toured black and later white theatrical circuits. When headlining as the first allblack show on the Columbia Burlesque Wheel, a national theater circuit catering primarily to white audiences, stories attesting to its truthful rendering of African American life became a main selling point on par with its acclaimed music and dancing. By relying on general promises of authenticity to promote the show across racial lines, SevenEleven effectively tapped into emerging desires within the largely segregated entertainment industry for uptodate black cultural products like music, dance, and fashion. SevenEleven was among the most popular black musicals of the early 1920s, yet it has largely been forgotten and its significance overlooked in favor of shows like Shuffle Along that dominated the New York City
{"title":"Navigating Black Identity and White Desire: Seven-Eleven and the 1920s Crossover Musical Comedy","authors":"Peter Graff","doi":"10.5406/19452349.40.1.02","DOIUrl":"https://doi.org/10.5406/19452349.40.1.02","url":null,"abstract":"On September 6, 1924, the Cleveland Gazette announced the arrival of the celebrated black musical comedy SevenEleven with a lengthy article that described the veracity of its character portrayals: “The authors of SevenEleven have striven to depict the southern ‘Negro’ in the true character, and the cast has been selected with the same point in view.”1 Appearing in the city’s daily black newspaper, this story attempted to reassure readers that SevenEleven was different from earlier black musicals that had been mired in damaging African American stereotypes. This show, according to the Gazette, was more realistic and honest. Similar claims of realism followed SevenEleven throughout its four years on the road as it toured black and later white theatrical circuits. When headlining as the first allblack show on the Columbia Burlesque Wheel, a national theater circuit catering primarily to white audiences, stories attesting to its truthful rendering of African American life became a main selling point on par with its acclaimed music and dancing. By relying on general promises of authenticity to promote the show across racial lines, SevenEleven effectively tapped into emerging desires within the largely segregated entertainment industry for uptodate black cultural products like music, dance, and fashion. SevenEleven was among the most popular black musicals of the early 1920s, yet it has largely been forgotten and its significance overlooked in favor of shows like Shuffle Along that dominated the New York City","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47443160","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 : 2022-04-01DOI: 10.5406/19452349.40.1.03
Erin E. Bauer
Betraying the genre’s heritage in European influences, one of the most frequently recorded songs within the TexasMexican conjunto tradition is the “Beer Barrel Polka,” translated into Spanish as “El Barrilito.” Composed by Czech musician Jaromír Vejvoda and popular worldwide during World War II, the tune has been recorded by a variety of conjunto artists, including the socalled “father of conjunto music” Narciso Martínez; other eminent early stars like Tony De La Rosa, Valerio Longoria, and Ruben Vela; more stylistically innovative musicians like Flaco Jiménez; and even members of the subsequent generation like Max Baca. However, contemporary TexasMexican musicians like Juanito Castillo, Piñata Protest, and Sunny Sauceda have not recorded the classic song. This first group of artists represents a collective tradition comprising a common repertory passed down through oral tradition. Meanwhile, recent musicians like Castillo, Piñata Protest, and Sauceda instead create original repertory alongside borrowed songs and stylistic traits from rock, country, and the blues (among others). In addition, while conjunto itself and many of its early artists initiated in rural communities along the TexasMexican border in the Rio Grande Valley, this “modernist” group of musicians (my term) emanates from the urban center of San Antonio. The quantitative methods in this article then highlight two divergent
{"title":"Defining Conjunto Quantitatively: Classical and Modernist Styles in a Texas-Mexican Genre","authors":"Erin E. Bauer","doi":"10.5406/19452349.40.1.03","DOIUrl":"https://doi.org/10.5406/19452349.40.1.03","url":null,"abstract":"Betraying the genre’s heritage in European influences, one of the most frequently recorded songs within the TexasMexican conjunto tradition is the “Beer Barrel Polka,” translated into Spanish as “El Barrilito.” Composed by Czech musician Jaromír Vejvoda and popular worldwide during World War II, the tune has been recorded by a variety of conjunto artists, including the socalled “father of conjunto music” Narciso Martínez; other eminent early stars like Tony De La Rosa, Valerio Longoria, and Ruben Vela; more stylistically innovative musicians like Flaco Jiménez; and even members of the subsequent generation like Max Baca. However, contemporary TexasMexican musicians like Juanito Castillo, Piñata Protest, and Sunny Sauceda have not recorded the classic song. This first group of artists represents a collective tradition comprising a common repertory passed down through oral tradition. Meanwhile, recent musicians like Castillo, Piñata Protest, and Sauceda instead create original repertory alongside borrowed songs and stylistic traits from rock, country, and the blues (among others). In addition, while conjunto itself and many of its early artists initiated in rural communities along the TexasMexican border in the Rio Grande Valley, this “modernist” group of musicians (my term) emanates from the urban center of San Antonio. The quantitative methods in this article then highlight two divergent","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41996574","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 : 2021-12-01DOI: 10.5406/19452349.39.4.04
M. Simonson
In December 1916, as Sergei Diaghilev’s Ballets Russes company was crossing the United States to make its West Coast premiere in Los Angeles, the Metropolitan Musical Bureau attempted to generate additional publicity and sustain excitement by publishing the first (and only) issue of the Diaghilef Ballet Russe Courier. Squarely in the center of the front page, under the headline “Ballet Too Expensive for Filming,” was a letter from American film director and producer Thomas H. Ince, purportedly responding to impresario and publicist Robert Grau’s recommendation that Ince invite the ballet troupe to make a film:
{"title":"Touring the Screen: Cinematic Resonances of Diaghilev's Ballets Russes","authors":"M. Simonson","doi":"10.5406/19452349.39.4.04","DOIUrl":"https://doi.org/10.5406/19452349.39.4.04","url":null,"abstract":"In December 1916, as Sergei Diaghilev’s Ballets Russes company was crossing the United States to make its West Coast premiere in Los Angeles, the Metropolitan Musical Bureau attempted to generate additional publicity and sustain excitement by publishing the first (and only) issue of the Diaghilef Ballet Russe Courier. Squarely in the center of the front page, under the headline “Ballet Too Expensive for Filming,” was a letter from American film director and producer Thomas H. Ince, purportedly responding to impresario and publicist Robert Grau’s recommendation that Ince invite the ballet troupe to make a film:","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46170708","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 : 2021-12-01DOI: 10.5406/19452349.39.4.06
Sarah Gutsche-Miller, C. Sumner
Diaghilev’s Ballets Russes tours across North America in 1916–17 were not a resounding financial or critical success, however, as the preceding articles in this collection have shown, the Russian dancers and their repertoire left a deep impression on audiences, and their performances continued to resonate long after the company returned to Europe: many Americans discovered a love of ballet after seeing the Ballets Russes and sought out classes or local dance productions, and orchestras increasingly incorporated Russian orchestral works and ballet music into their programs. Nevertheless, the impact of the Ballets Russes tours waned over the next several years, superseded by other touring companies of the 1910s and 1920s, in particular the much beloved Anna Pavlova.1 For most Americans, Diaghilev’s fabled company eventually faded into memory or became a distant object of curiosity to be followed through magazines and occasional news reports. When Diaghilev died in 1929
{"title":"Imported Sophistication: The Ballets Russes Tours of the 1930s–50s and Toronto's Quest for Cultural Significance","authors":"Sarah Gutsche-Miller, C. Sumner","doi":"10.5406/19452349.39.4.06","DOIUrl":"https://doi.org/10.5406/19452349.39.4.06","url":null,"abstract":"Diaghilev’s Ballets Russes tours across North America in 1916–17 were not a resounding financial or critical success, however, as the preceding articles in this collection have shown, the Russian dancers and their repertoire left a deep impression on audiences, and their performances continued to resonate long after the company returned to Europe: many Americans discovered a love of ballet after seeing the Ballets Russes and sought out classes or local dance productions, and orchestras increasingly incorporated Russian orchestral works and ballet music into their programs. Nevertheless, the impact of the Ballets Russes tours waned over the next several years, superseded by other touring companies of the 1910s and 1920s, in particular the much beloved Anna Pavlova.1 For most Americans, Diaghilev’s fabled company eventually faded into memory or became a distant object of curiosity to be followed through magazines and occasional news reports. When Diaghilev died in 1929","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49512034","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 : 2021-12-01DOI: 10.5406/19452349.39.4.03
Julia Phillips Randel
By February 13, 1917, Diaghilev’s Ballets Russes had been crisscrossing the United States for four, grueling months, dancing to often disappointingly small houses, in which the appreciation of both critics and public was tempered with varying degrees of disapproval and bewilderment. When the company arrived that day in Grand Rapids, Michigan, it would have had little reason to expect anything different. But if the local press is to be believed, the performance there met with exceptional success. The Grand Rapids Herald began its review (signed C.M.S.), by celebrating the size, enthusiasm, and sophistication of the audience.
{"title":"A \"Brilliant Talk\" and a \"Stirring Appeal\": How Women of Grand Rapids, Michigan, Built an Audience for the Ballets Russes in 1917","authors":"Julia Phillips Randel","doi":"10.5406/19452349.39.4.03","DOIUrl":"https://doi.org/10.5406/19452349.39.4.03","url":null,"abstract":"By February 13, 1917, Diaghilev’s Ballets Russes had been crisscrossing the United States for four, grueling months, dancing to often disappointingly small houses, in which the appreciation of both critics and public was tempered with varying degrees of disapproval and bewilderment. When the company arrived that day in Grand Rapids, Michigan, it would have had little reason to expect anything different. But if the local press is to be believed, the performance there met with exceptional success. The Grand Rapids Herald began its review (signed C.M.S.), by celebrating the size, enthusiasm, and sophistication of the audience.","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46555626","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 : 2021-12-01DOI: 10.5406/19452349.39.4.01
M. Simonson, Samuel N. Dorf
{"title":"Guest Editor's Introduction: The Ballets Russes in North America","authors":"M. Simonson, Samuel N. Dorf","doi":"10.5406/19452349.39.4.01","DOIUrl":"https://doi.org/10.5406/19452349.39.4.01","url":null,"abstract":"","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41927150","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 : 2021-12-01DOI: 10.5406/19452349.39.4.02
Samuel N. Dorf
{"title":"Diaghilev's Ballets Russes in the American Midwest","authors":"Samuel N. Dorf","doi":"10.5406/19452349.39.4.02","DOIUrl":"https://doi.org/10.5406/19452349.39.4.02","url":null,"abstract":"","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43694549","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 : 2021-12-01DOI: 10.5406/19452349.39.4.05
Carolyn J. Watts
Upon the death of the impresario Serge Diaghilev in 1929, the Russian dancerchoreographer Adolph Bolm (1884–1951) penned a retrospective for an American publication, The Dance Magazine. Drawing from his tenure as premier danseur with the Ballets Russes from 1909 to 1917, he wrote of the late impresario’s character, accomplishments, and influence on the art world at large. The nowfamiliar tropes were rehearsed: Diaghilev was an autocratic “genius of the theater,” whose persistence and unfailing taste reinvigorated ballet in the West; Diaghilev mobilized Europe’s leading artistic figures for ballet, revolutionizing music and the scenic arts along the way; Diaghilev shone the spotlight on the male dancer and fostered the careers of the era’s leading Russian choreographers. Bolm ended his tribute with a simple, but imperative, appeal to his readers: “Diaghileff left a great legacy to the world of art, and it must be preserved.”1 How does one preserve a legacy? More crucially for Bolm, how does one preserve the legacy of a figure celebrated for his monumental impact on ballet, an artform notorious for its ephemerality? This question has long troubled dancemakers, old and new, from the fields of concert dance to folk dance.2 Diaghilev himself set up obstacles to these efforts by refusing to allow Ballets Russes productions to be filmed and failing to have the company’s choreographic works routinely notated. Nevertheless, the impresario’s trace remains in the vast array of musical scores, artworks, and photographs he commissioned during his career. The
{"title":"\"It Must Be Preserved\": Adolph Bolm's Revival of Le Coq d'Or","authors":"Carolyn J. Watts","doi":"10.5406/19452349.39.4.05","DOIUrl":"https://doi.org/10.5406/19452349.39.4.05","url":null,"abstract":"Upon the death of the impresario Serge Diaghilev in 1929, the Russian dancerchoreographer Adolph Bolm (1884–1951) penned a retrospective for an American publication, The Dance Magazine. Drawing from his tenure as premier danseur with the Ballets Russes from 1909 to 1917, he wrote of the late impresario’s character, accomplishments, and influence on the art world at large. The nowfamiliar tropes were rehearsed: Diaghilev was an autocratic “genius of the theater,” whose persistence and unfailing taste reinvigorated ballet in the West; Diaghilev mobilized Europe’s leading artistic figures for ballet, revolutionizing music and the scenic arts along the way; Diaghilev shone the spotlight on the male dancer and fostered the careers of the era’s leading Russian choreographers. Bolm ended his tribute with a simple, but imperative, appeal to his readers: “Diaghileff left a great legacy to the world of art, and it must be preserved.”1 How does one preserve a legacy? More crucially for Bolm, how does one preserve the legacy of a figure celebrated for his monumental impact on ballet, an artform notorious for its ephemerality? This question has long troubled dancemakers, old and new, from the fields of concert dance to folk dance.2 Diaghilev himself set up obstacles to these efforts by refusing to allow Ballets Russes productions to be filmed and failing to have the company’s choreographic works routinely notated. Nevertheless, the impresario’s trace remains in the vast array of musical scores, artworks, and photographs he commissioned during his career. The","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42321039","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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