Pub Date : 2021-06-05DOI: 10.5406/AMERICANMUSIC.39.1.0001
S. Ege
Florence Beatrice Price (1887–1953) and Theodora Sturkow Ryder (1876– 1958) were prominent composers in interwar Chicago.1 Both wrote works for orchestra, chamber ensemble, solo instruments, and voice that transformed Chicago’s concert culture and brought both women national renown. They belonged to wider networks of female practitioners and were affiliated with both local and national music clubs.2 However, the color line delimited their careers: Price largely operated in Chicago’s Black classical music scene, while Sturkow Ryder belonged to the white
{"title":"Chicago, the \"City We Love to Call Home!\": Intersectionality, Narrativity, and Locale in the Music of Florence Beatrice Price and Theodora Sturkow Ryder","authors":"S. Ege","doi":"10.5406/AMERICANMUSIC.39.1.0001","DOIUrl":"https://doi.org/10.5406/AMERICANMUSIC.39.1.0001","url":null,"abstract":"Florence Beatrice Price (1887–1953) and Theodora Sturkow Ryder (1876– 1958) were prominent composers in interwar Chicago.1 Both wrote works for orchestra, chamber ensemble, solo instruments, and voice that transformed Chicago’s concert culture and brought both women national renown. They belonged to wider networks of female practitioners and were affiliated with both local and national music clubs.2 However, the color line delimited their careers: Price largely operated in Chicago’s Black classical music scene, while Sturkow Ryder belonged to the white","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-06-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44088201","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 : 2021-06-05DOI: 10.5406/AMERICANMUSIC.39.1.0089
M. Accinno
By some mischance, number 25 of your excellent journal has not reached me and I have anathematized the post office department until my patience is exhausted. . . . The fact is I can no more do without every number of your paper than a country schoolmaster can without his . . . pipe. It comes to me vibrating with all the good music heard in our country. In brief though a weekly it is mighty strong. . . . [C]offee and buckwheat cakes on a cold winter morning are nothing to it. If after this you do not send another copy of the aforesaid number 25, for those post office _______________ have abstracted the copy you did send, what shall I do.
{"title":"John Sullivan Dwight, Blindness, and Music Education","authors":"M. Accinno","doi":"10.5406/AMERICANMUSIC.39.1.0089","DOIUrl":"https://doi.org/10.5406/AMERICANMUSIC.39.1.0089","url":null,"abstract":"By some mischance, number 25 of your excellent journal has not reached me and I have anathematized the post office department until my patience is exhausted. . . . The fact is I can no more do without every number of your paper than a country schoolmaster can without his . . . pipe. It comes to me vibrating with all the good music heard in our country. In brief though a weekly it is mighty strong. . . . [C]offee and buckwheat cakes on a cold winter morning are nothing to it. If after this you do not send another copy of the aforesaid number 25, for those post office _______________ have abstracted the copy you did send, what shall I do.","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-06-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47779188","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 : 2021-04-01DOI: 10.5406/americanmusic.39.1.0129
David Aarons
/es/N%C2%BA-38/periodizacion-historiografica-y-dogmas-esteticos-un-ejercicio-sobre -villancicos-coloniales.html. 20. Leonardo J. Waisman, “La música colonial en la Iberoamérica neo-colonial,” Acta Musicologica 76, no. 1 (2004): 117–27, 122. 21. The sophistication of Gary Tomlinson’s study in English, The Singing of the New World: Indigenous Voice in the Era of European Contact (Cambridge: Cambridge University Press, 2007), does not justify the exclusion of the early period, especially considering the textbook potential of Waisman’s book. 22. In “En busca de una generación perdida: Ser compositor en Iberoamérica en tiempos de independencia (1790–1850),” in Músicas coloniales a debate: Procesos de intercambio euroamericanos, ed. Javier Marín-López (Madrid: Instituto Complutense de Ciencias Musicales, 2018), 355–76, José Manuel Izquierdo König groups composers who shared chronology and social conditions into what he appropriately calls “a lost generation.”
{"title":"Island Gospel: Pentecostal Music and Identity in Jamaica and the United States by Melvin Butler (review)","authors":"David Aarons","doi":"10.5406/americanmusic.39.1.0129","DOIUrl":"https://doi.org/10.5406/americanmusic.39.1.0129","url":null,"abstract":"/es/N%C2%BA-38/periodizacion-historiografica-y-dogmas-esteticos-un-ejercicio-sobre -villancicos-coloniales.html. 20. Leonardo J. Waisman, “La música colonial en la Iberoamérica neo-colonial,” Acta Musicologica 76, no. 1 (2004): 117–27, 122. 21. The sophistication of Gary Tomlinson’s study in English, The Singing of the New World: Indigenous Voice in the Era of European Contact (Cambridge: Cambridge University Press, 2007), does not justify the exclusion of the early period, especially considering the textbook potential of Waisman’s book. 22. In “En busca de una generación perdida: Ser compositor en Iberoamérica en tiempos de independencia (1790–1850),” in Músicas coloniales a debate: Procesos de intercambio euroamericanos, ed. Javier Marín-López (Madrid: Instituto Complutense de Ciencias Musicales, 2018), 355–76, José Manuel Izquierdo König groups composers who shared chronology and social conditions into what he appropriately calls “a lost generation.”","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44339547","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 : 2021-04-01DOI: 10.5406/americanmusic.39.1.0119
Javier Marín-López, Malena Kuss
La entrada del siglo XXI ha planteado a los estudiosos de la música colonial algunos retos que, lejos de ser exclusivos de este campo de conocimiento, afectan al conjunto de las Ciencias Humanas y Sociales. De un lado, la acelerada fragmentación y atomización de conocimientos, en parte consecuencia de la creciente especialización de la investigación y el número cada vez mayor de fuentes, publicaciones y enfoques; esta circunstancia, unida a la existencia de incomprensibles vacíos, acaba por conformar un cuadro confuso, disperso y segmentado de la realidad que queremos estudiar. De otro, la crítica radical de paradigmas epistemológicos y formas totalizadoras y lineales de escritura histórica que, además de instrumentalizar metodologías, ocultan el carácter particular y sesgado de sus métodos, aunque lo hagan por medio de un lenguaje y unas categorías supuestamente universales y neutras. ¿Cómo encarar la compleja narración de los “grandes procesos” de la música colonial hispanoamericana ante un inabarcable manantial de estudios –algunos de muy difícil acceso–, amenazadoras zonas ignotas y la “crisis” terminal de paradigmas en la historia? ¿Cómo hacerlo en un contexto global post-neo colonial?
{"title":"Una historia de la música colonial hispanoamericana","authors":"Javier Marín-López, Malena Kuss","doi":"10.5406/americanmusic.39.1.0119","DOIUrl":"https://doi.org/10.5406/americanmusic.39.1.0119","url":null,"abstract":"La entrada del siglo XXI ha planteado a los estudiosos de la música colonial algunos retos que, lejos de ser exclusivos de este campo de conocimiento, afectan al conjunto de las Ciencias Humanas y Sociales. De un lado, la acelerada fragmentación y atomización de conocimientos, en parte consecuencia de la creciente especialización de la investigación y el número cada vez mayor de fuentes, publicaciones y enfoques; esta circunstancia, unida a la existencia de incomprensibles vacíos, acaba por conformar un cuadro confuso, disperso y segmentado de la realidad que queremos estudiar. De otro, la crítica radical de paradigmas epistemológicos y formas totalizadoras y lineales de escritura histórica que, además de instrumentalizar metodologías, ocultan el carácter particular y sesgado de sus métodos, aunque lo hagan por medio de un lenguaje y unas categorías supuestamente universales y neutras. ¿Cómo encarar la compleja narración de los “grandes procesos” de la música colonial hispanoamericana ante un inabarcable manantial de estudios –algunos de muy difícil acceso–, amenazadoras zonas ignotas y la “crisis” terminal de paradigmas en la historia? ¿Cómo hacerlo en un contexto global post-neo colonial?","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47071169","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 : 2021-03-02DOI: 10.5406/AMERICANMUSIC.38.4.0428
Jonathan Goldman, Jeremy Strachan
{"title":"Indonesian Cultural Diplomacy and the First International Gamelan Festival and Symposium at Expo 86","authors":"Jonathan Goldman, Jeremy Strachan","doi":"10.5406/AMERICANMUSIC.38.4.0428","DOIUrl":"https://doi.org/10.5406/AMERICANMUSIC.38.4.0428","url":null,"abstract":"","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-03-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46470186","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 : 2021-03-02DOI: 10.5406/AMERICANMUSIC.38.4.0395
S. Doktor
{"title":"How a White Supremacist Became Famous for His Black Music: John Powell and Rhapsodie nègre (1918)","authors":"S. Doktor","doi":"10.5406/AMERICANMUSIC.38.4.0395","DOIUrl":"https://doi.org/10.5406/AMERICANMUSIC.38.4.0395","url":null,"abstract":"","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-03-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49322654","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 : 2021-03-02DOI: 10.5406/AMERICANMUSIC.38.4.0454
Heather Platt
{"title":"“Something New in the Musical Line”: The Emergence of the Song Recital during the 1870s and 1880s","authors":"Heather Platt","doi":"10.5406/AMERICANMUSIC.38.4.0454","DOIUrl":"https://doi.org/10.5406/AMERICANMUSIC.38.4.0454","url":null,"abstract":"","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-03-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42001040","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 : 2021-03-02DOI: 10.5406/AMERICANMUSIC.38.4.0485
Joseph Sargent
{"title":"Forgetting and Remembering: The Case of Leo Sowerby’s The Canticle of the Sun","authors":"Joseph Sargent","doi":"10.5406/AMERICANMUSIC.38.4.0485","DOIUrl":"https://doi.org/10.5406/AMERICANMUSIC.38.4.0485","url":null,"abstract":"","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-03-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45369338","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 : 2020-12-02DOI: 10.5406/americanmusic.38.3.0263
C. Bailey
Between 1861 and 1865, Nora Gardner, a young woman from northwestern Tennessee, collected music that survives today in two binder’s volumes, now housed in the Center for Popular Music at Middle Tennessee State University.1 These volumes contain music that encapsulates many aspects of a young southern woman’s life in the midnineteenth century, and in that regard they mirror thousands of other collections that survive from this period. Nora’s assemblage, however, differs from others because she carefully notated many places, names, and dates in them, thereby deliberately preserving the culture signified by these materials. Comments written in these two volumes illuminate aspects of Nora’s life during this period: school, divided loyalties during the Civil War, courtship, and friendship. More than evidence of popular music preferences, they typify the culture associated with her class and evince an almost desperate attempt to maintain antebellum constructions of femininity even as war disrupted practically everything she had been taught about her role and place in southern society. In an examination of over fifteen hundred binder’s volumes, I have yet to encounter such conscientious notation of names, places, and dates as I have seen in Nora’s volumes. They remind us that the path of war traversed Tennessee several times, impacting the lives of not only soldiers
{"title":"“Remember Those Beautiful Songs”: Preserving Antebellum Cultural Practices through Music Collection during the Civil War","authors":"C. Bailey","doi":"10.5406/americanmusic.38.3.0263","DOIUrl":"https://doi.org/10.5406/americanmusic.38.3.0263","url":null,"abstract":"Between 1861 and 1865, Nora Gardner, a young woman from northwestern Tennessee, collected music that survives today in two binder’s volumes, now housed in the Center for Popular Music at Middle Tennessee State University.1 These volumes contain music that encapsulates many aspects of a young southern woman’s life in the midnineteenth century, and in that regard they mirror thousands of other collections that survive from this period. Nora’s assemblage, however, differs from others because she carefully notated many places, names, and dates in them, thereby deliberately preserving the culture signified by these materials. Comments written in these two volumes illuminate aspects of Nora’s life during this period: school, divided loyalties during the Civil War, courtship, and friendship. More than evidence of popular music preferences, they typify the culture associated with her class and evince an almost desperate attempt to maintain antebellum constructions of femininity even as war disrupted practically everything she had been taught about her role and place in southern society. In an examination of over fifteen hundred binder’s volumes, I have yet to encounter such conscientious notation of names, places, and dates as I have seen in Nora’s volumes. They remind us that the path of war traversed Tennessee several times, impacting the lives of not only soldiers","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-12-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44947569","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 : 2020-12-02DOI: 10.5406/americanmusic.38.3.0327
Benjamin R. Teitelbaum
Rehearsals were under way for the 123rd annual performance of Messiah in the small town of Lindsborg, Kansas. Not only is the community of 3,500 home to one of the oldest continuous traditions of performing Handel’s famous oratorio, it is also known nationally for branding itself as an ethnotourism center—as “Little Sweden U.S.A.”—in recognition of its founding during the mid1800s by Swedish immigrants. When local journalist Marty Hardy published the above statement on the front page of the town’s newspaper in 2005, she was keeping to a pattern. A year earlier she described singing Messiah as “probably the most significant event in keeping the Swedish heritage alive in Lindsborg.”1 Two months later, she would again use her column to urge fellow community members to celebrate upcoming performances by flying Swedish flags outside their homes. And so it continued in her writings and communications until her retirement as a journalist in 2006 and passing in 2016. I first read these columns in 2004 when I was an undergraduate student at Bethany College in Lindsborg, the institution hosting the annual oratorio performances. I found the commentary provocative: I had come to Lindsborg and Bethany as an eighteenyearold because of its Swedish
{"title":"Making Messiah Swedish: Localities of Music and Identity in Ethnotourist America","authors":"Benjamin R. Teitelbaum","doi":"10.5406/americanmusic.38.3.0327","DOIUrl":"https://doi.org/10.5406/americanmusic.38.3.0327","url":null,"abstract":"Rehearsals were under way for the 123rd annual performance of Messiah in the small town of Lindsborg, Kansas. Not only is the community of 3,500 home to one of the oldest continuous traditions of performing Handel’s famous oratorio, it is also known nationally for branding itself as an ethnotourism center—as “Little Sweden U.S.A.”—in recognition of its founding during the mid1800s by Swedish immigrants. When local journalist Marty Hardy published the above statement on the front page of the town’s newspaper in 2005, she was keeping to a pattern. A year earlier she described singing Messiah as “probably the most significant event in keeping the Swedish heritage alive in Lindsborg.”1 Two months later, she would again use her column to urge fellow community members to celebrate upcoming performances by flying Swedish flags outside their homes. And so it continued in her writings and communications until her retirement as a journalist in 2006 and passing in 2016. I first read these columns in 2004 when I was an undergraduate student at Bethany College in Lindsborg, the institution hosting the annual oratorio performances. I found the commentary provocative: I had come to Lindsborg and Bethany as an eighteenyearold because of its Swedish","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-12-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42433611","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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