Music in the USA: a documentary companion
Gespeichert in:
| Format: | Buch |
|---|---|
| Sprache: | English |
| Veröffentlicht: |
Oxford [u.a.]
Oxford Univ. Press
2008
|
| Schlagworte: | |
| Online-Zugang: | Table of contents only Inhaltsverzeichnis |
| Beschreibung: | XXXVII, 881 S. Ill., Notenbeisp. |
| ISBN: | 9780195139877 9780195139884 |
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| 245 | 1 | 0 | |a Music in the USA |b a documentary companion |c Judith Tick, ed. |
| 264 | 1 | |a Oxford [u.a.] |b Oxford Univ. Press |c 2008 | |
| 300 | |a XXXVII, 881 S. |b Ill., Notenbeisp. | ||
| 336 | |b txt |2 rdacontent | ||
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| 338 | |b nc |2 rdacarrier | ||
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Datensatz im Suchindex
| _version_ | 1804136486304481280 |
|---|---|
| adam_text | Contents
Isist
of Illustrations
Introduction
XXXI
ХХХШ
Í540-Í770
1. Early Encounters between Indigenous Peoples and European Ex¬
plorers
(Castañeda,
Drake,
de Meras,
Smith, Wood)
3
2.
From the Preface to the First Edition of the Bay Psalm Book
11
3.
Four Translations of Psalm
100
(Tehilim, Bay Psalm Book,
1640
and
1698,
Watts)
16
4.
From the Diaries of Samuel Sewall
22
5.
The Ministers Rally for Musical Literacy (Mather, Walter, Symmes)
25
6.
Benjamin Franklin Advises His Brother on How to Write a Ballad
and How Not to Write like Handel
31
7.
Social Music for the Elite in Colonial
Williamsburg 36
8.
Advertisements and Notices from Colonial Newspapers
41
1770-1850
9.
Christopher Crotchet, Singing Master from Quavertown
49
10.
Singing the Revolution (Adams, Dickinson, Greeley)
55
11.
Elisha Bostwick Hears a Scots Prisoner of War Sing Gypsie Laddie
60
12.
A Sidebar into Ballad Scholarship: The Wanderings of the Gypsy
Laddie (Child, Sharp, Coffin, Branson)
62
13.
William Billings and the New Sacred Music (Billings, Gould)
67
14.
Daniel Read on Pirating and Scientific Music
73
15.
Turn-of-the-Century Theater Songs from Reinagle, Rowson, and Carr:
America, Commerce, and Freedom and The Little Sailor Boy
78
16.
Padre
Narciso Duran
Describes Musical Training at the Mission San
Jose
85
17.
Moravian Musical life at Bethlehem (Henry, Till, Bowne)
90
18.
Reverend Burkitt Brings Camp Meeting Hymns from Kentucky to
North Carolina in
1803 95
19.
John Fanning Watson and Errors in Methodist Worship
98
20.
Reverend James B.
Finley
and
Mononeue Sing
Come Thou Fount
of Every Blessing
101
xxv
ÏS3CMSS0
21.
Thomas D.
Rice Acts Out Jim Crow and Cuff
107
22.
William M.Whitlock, Banjo Player for the Virginia Minstrels
115
23.
Edwin P. Christy, Stephen Foster, and Ethiopian Minstrelsy
118
24.
Stephen Foster s Legacy (Foster, Gordon,
Robb,
Simpson, Willis,
Galli-Curd, Ellington, Charles)
123
25.
The
Fasola
Folk, The Southern Harmony, and The Sacred Harp (Walker,
White and King)
133
26.
A Sidebar into the Discovery of Shape-Note Music by a National Au¬
dience (Jackson, The Sacred Harp, 1991)
139
27.
The Boston Public Schools Set a National Precedent for Music
Education
145
28.
Lorenzo
Da Ponte
Recruits an Italian Opera Company for New York
149
29.
Music Education for American Girls
155
30.
Early Expressions of Cultural Nationalism (Hopkins, Fry, Putnam s
Monthly)
160
31.
John S. Dwight Remembers How He and His Circle Were but Babes
in Music
165
32.
George
Templeton
Strong Hears the American Premiere of Bee¬
thoven s Fifth
171
33.
German Americans Adapting and Contributing to Musical Life
175
34.
Emil Klauprechťs
German-American Novel Cincinnati;
oder,
àie.
Geheimnisse des Westens 180
35.
P. T.
Barnum
and the Jenny
Lind
Fever
185
36.
Miska
Hauser,
Hungarian Violinist, Pans for Musical Gold
190
37.
From the Journals of Louis Moreau
Gottschalk 195
38.
The Four-Part Blend of the Hutchinson Family
202
39.
Walt Whitman s Conversion to Opera
207
40.
Clara Kellogg and the Memoirs of an American
Prima
Donna
211
41.
Frederick Douglass from My Bondage and My Freedom
219
42.
Harriet Beecher Stowe and Two Scenes from Uncle Tom s Cabin
225
43.
From Slave Songs of the United States
(1867) 229
44.
A Sidebar into Memory: Slave Narratives from the Federal Writers
Project in the New Deal
235
45.
George F. Root Recalls How He Wrote a Classic Union Song
242
46.
A Confederate Girl s Diary during the Civil War
245
47.
Soldier-Musicians from the North and the South Recall Duties on
the Front
250
48.
Ella Sheppard Moore:
A Fisk
Jubilee Singer
258
49.
Patrick S.
Gilmore
and the Golden Age of Bands (Newspaper Review,
Herbert) 266
50.
Theodore Thomas and His Musical Manifest Destiny (Rose Fay
Thomas, Theodore Thomas)
270
xxvi
Í8S0-Í920
51.
John Philip
Sousa:
Excerpts from His Autobiography
281
52.
Why Is a Good March like a Marble Statue? (Pryor, Fennell)
285
53.
Willa
Cather Mourns the Passing of the Small-Town Opera House
293
54.
Henry Lee Higginson and the Founding of the Boston Symphony
Orchestra
297
55.
American Classical Music Goes to the Paris World s Fair of
1889 301
56.
George Chadwick s Ideals for Composing Classical Concert Music
304
57.
Late Nineteenth-Century Cultural Nationalism: The Paradigm of
Dvorak (Creelman, Paine, Burleigh)
308
58.
Henry Krehbiel Explains a Critic s Craft and a Listener s Duty
316
59.
Amy Fay Tackles the Woman Question
320
60.
Amy Beach, Composer, on Why I Chose My Profession
323
61.
Edward MacDowell, Poet-Composer, Remembered (Currier,
Gilman)
330
62.
Paul
Rosenfelďs
Manifesto for American Composers
336
63.
From the Writings of Charles Ives
341
64.
Frederic Louis
Ritter
Looks for the People s Song
348
65.
Frances
Densmore
and the Documentation of American Indian
Songs and Poetry
352
66.
A Sidebar into National Cultural Policy: The Federal Cylinder Project
357
67.
Charles K. Harris on Writing Hits for Tin Pan Alley
361
68.
Scott Joplin, Ragtime Visionary (Scott Joplin, Lottie Joplin)
366
69.
A Sidebar into the Ragtime Revival of the 1970s: William
Bolcom
Reviews The Collected Works of Scott Joplin
371
70.
James Reese Europe on the Origin of Modern Dances
375
71.
Irving Berlin on Love-Interest as a Commodity in Popular Songs
378
72.
Caroline Caffin on the Music and Near-Music of Vaudeville
384
73.
Ferdinand Jelly Roll Morton Describes New Orleans and the Dis¬
cipline of Jazz
390
Ï920-Ï950
74.
Bessie Smith, Artist and Blues Singer (Press Notice, Bailey,
Schuller) 399
75.
Thomas Andrew Dorsey Brings the People Up and Carries Him¬
self Along
404
76.
Louis Armstrong in His Own Words
409
77.
Gilbert Seldes Waves the Flag of Pop
414
78.
Al Jolson
and The Jazz Singer
417
79.
Carl Stalling, Master of Cartoon Music: An Interview
421
80.
A Sidebar into Postmodernism: John
Zorn
Turns Carl Stalling into
a Prophet
428
81.
Alec Wilder Writes Lovingly about Jerome Kern
431
82.
George Gershwin Explains That Jazz Is the Voice of the American
Soul
435
XXVtt
83. William
Grant
Still,
Pioneering African-
American
Composer (Still,
Locke, Still)
439
84.
The Inimitable Henry Cowell as Described by the Irrepressible Nico¬
las Slonimsky
44^
85.
Ruth Crawford Seeger and Her Astonishing Juxtapositions
450
86.
River Sirens, Lion Roars, All Music to
Varèse : An
Interview in
Santa Fe
45
б
87.
Leopold Stokowski and Debatable Music
461
88.
Henry Leland Clarke on the Composers Collective
463
89. Marc Blitzstein In
and Out of the Treetops of The Cradle Will Rock
466
90.
Samuel Barber and the Controversy around the Premiere of Adagio
for Strings (Downes, Pettis, Menotri, Harris)
470
91.
Virgil Thomson, Composer and Critic
475
92.
Arthur
Berger
Divides Aaron Copland into Two Styles, and Copland
Puts Himself Back Together Again
480
93.
Aaron Copland on the Personality of Stravinsky
487
94.
The American Period of Arnold
Schoenberg
(Sessions, Newlin)
489
95.
The Bristol Sessions and Country Music
495
96.
Uncle Dave Macon, Banjo Trickster, at the Grand
Ole Opry
500
97.
A Sidebar into the Folk Revival: Harry Smith s Canon of Old-Time
Recordings
502
98.
Zora
Neale Hurston on Spirituals and Neo-Spirituals
506
99.
The Hard Times of Emma Dusenbury, Source Singer
510
100.
John and Alan Lomax Propose a Canon for American Folk Song
512
101.
Woody Guthrie Praises the Spunkfire Attitude of a Folk Song
519
102.
Fred Astaire Dances like a Twentieth-Century American (Williams)
523
103.
The Innovations of Oklahoma!
(de Mille, Engel) 527
104.
Duke
Ellington
on Swing as a
Way of life
532
105.
Malcolm X Recalls the Years of Swing
538
106.
The Many Faces of
Billie
Holiday (Holiday, Wilson, Bennett)
544
107.
Ralph Ellison on the Birth of Bebop at Minton s
553
Í950-Í975
108.
Ella Fitzgerald on Stage (Peterson)
561
109.
Leonard Bernstein Charts an Epic Role for Musical Theater
565
no. Stephen
Sondheim
on Writing Theater Lyrics
570
in. Muddy Waters Explains Why It Doesn t Pay to Run from Trouble
575
112.
Elvis Presley in the Eye of a Musical Twister (Newspaper Reviews,
Gould, Lewis)
580
113.
Chuck Berry in His Own Words
588
114.
The Five-String Banjo: Hints from the
1960s
Speed Master, Earl
Scruggs 593
115.
Pete Seeger, a TCUSAPSS, Sings Out!
598
116.
Bob Dylan Turns Liner Notes into Poetry
602
117.
Janis
Joplin Grabs Pieces of Our Hearts (Joplin, Graham)
605
xxvm
118. Handcraffing
the Grooves in the Studio: Aretha Franklin at Mus¬
cle Shoals (Wexler)
612
119.
JimiHendrix, Virtuoso of Electricity (Hendrix, Bloomfield)
619
120.
Amiri
Baraka
Theorizes a Black Nationalist Aesthetic
625
121.
Greil Marcus and the New Rock Criticism
630
122.
Charles Reich on the Music of Consciousness III
636
123.
McCoy Tyner on the Jubilant Experience of John Coltrane s Classic
Quartet
642
124.
Miles Davis: Excerpts from His Autobiography
649
125.
A Vietnam Vet Remembers Rocking and Rolling in the Mud of War
654
126.
George Crumb and Black Angels: A Quartet in Time of War (Crumb,
Harrington)
658
127.
Milton Babbitt on Electronic Music (Babbitt, Brody and Miller)
661
128.
Edward T. Cone Satirizes Music Theory s New Vocabulary
669
129.
Mario Davidovsky: An Introduction (Chasalow)
678
130.
Elliott Carter on the Different Time Worlds in String Quartets
Nos.
1
and
2 682
131.
John Cage: Words and Music of Changes (Cage, Anderson)
686
132.
Harold
Schonberg
on Art and Bunk, Matter and Anti-Matter
692
133.
Pauline
Oliveros,
Composer and Teacher
696
134.
Steve Reich on Music as a Gradual Process
699
1975-2000
135.
Star Wars Meets Wagner (Dyer, Tomlinson)
705
136.
Tom Johnson Demonstrates What Minimalism Is Really About
712
137.
Morton Feldman and His West German Fan Base (Feldman, Post)
715
138.
Philip Glass and the Roots of Reform Opera
722
139.
Laurie Anderson Does Stand-Up Performance Art (Anderson,
Gordon)
733
140.
Meredith Monk and the Revelation of Voice
741
141.
Recapturing the Soul of the American Orchestra (Duffy, Tower)
743
142.
Two Economists Measure the Impact of Blind Auditions
748
143.
John Harbison on Modes of Composing
756
144.
Wynton
Marsalis
on Learning from the Past for the Sake of the
Present
763
145.
John Adams, an American Master
771
146.
The Incorporation of the American Folklife Center
779
147.
Daniel J. Boorstin s Welcoming Remarks at the Conference on Eth¬
nic Recordings in America
782
148.
Willie
Colón
on Conscious Salsa
786
149.
The Accordion Travels through Roots Music (Savoy)
791
150.
Conjunto
Music
—
A Very Beautiful Accordionate Flower (Santiago
Jiménez, Flaco Jiménez, Jordán)
796
151.
Gloria Anzaldúa
on
Vistas y Corridos:
My Native Tongue
805
xxix
152.
Contemporary Native American Music and the Pine Ridge Reserva¬
tion (Porcupine Singers, Frazier)
808
153.
MTV and the Music Video (MoMA, Hoberman)
814
154.
Turning Points in the Career of Michael Jackson (Jackson, Jones)
820
155.
Sally Banes Explains Why Breaking Is Hard to Do
826
156.
Two Members of Public Enemy Discuss Sampling and Copyright
Law
830
157. DJ
Qbert, Master of Turntable Music
836
158.
A Press Release from the Country Music Association
83 9
159.
Ephemeral Music: Napster s Congressional Testimony
844
Index
849
xxx
|
| adam_txt |
Contents
Isist
of Illustrations
Introduction
XXXI
ХХХШ
Í540-Í770
1. Early Encounters between Indigenous Peoples and European Ex¬
plorers
(Castañeda,
Drake,
de Meras,
Smith, Wood)
3
2.
From the Preface to the First Edition of the Bay Psalm Book
11
3.
Four Translations of Psalm
100
(Tehilim, Bay Psalm Book,
1640
and
1698,
Watts)
16
4.
From the Diaries of Samuel Sewall
22
5.
The Ministers Rally for Musical Literacy (Mather, Walter, Symmes)
25
6.
Benjamin Franklin Advises His Brother on How to Write a Ballad
and How Not to Write like Handel
31
7.
Social Music for the Elite in Colonial
Williamsburg 36
8.
Advertisements and Notices from Colonial Newspapers
41
1770-1850
9.
"Christopher Crotchet, Singing Master from Quavertown"
49
10.
Singing the Revolution (Adams, Dickinson, Greeley)
55
11.
Elisha Bostwick Hears a Scots Prisoner of War Sing "Gypsie Laddie"
60
12.
A Sidebar into Ballad Scholarship: The Wanderings of the "Gypsy
Laddie" (Child, Sharp, Coffin, Branson)
62
13.
William Billings and the New Sacred Music (Billings, Gould)
67
14.
Daniel Read on Pirating and "Scientific Music"
73
15.
Turn-of-the-Century Theater Songs from Reinagle, Rowson, and Carr:
"America, Commerce, and Freedom" and "The Little Sailor Boy"
78
16.
Padre
Narciso Duran
Describes Musical Training at the Mission San
Jose
85
17.
Moravian Musical life at Bethlehem (Henry, Till, Bowne)
90
18.
Reverend Burkitt Brings Camp Meeting Hymns from Kentucky to
North Carolina in
1803 95
19.
John Fanning Watson and Errors in Methodist Worship
98
20.
Reverend James B.
Finley
and
Mononeue Sing
"Come Thou Fount
of Every Blessing"
101
xxv
ÏS3CMSS0
21.
Thomas D.
Rice Acts Out Jim Crow and Cuff
107
22.
William M.Whitlock, Banjo Player for the Virginia Minstrels
115
23.
Edwin P. Christy, Stephen Foster, and "Ethiopian Minstrelsy"
118
24.
Stephen Foster's Legacy (Foster, Gordon,
Robb,
Simpson, Willis,
Galli-Curd, Ellington, Charles)
123
25.
The
Fasola
Folk, The Southern Harmony, and The Sacred Harp (Walker,
White and King)
133
26.
A Sidebar into the Discovery of Shape-Note Music by a National Au¬
dience (Jackson, The Sacred Harp, 1991)
139
27.
The Boston Public Schools Set a National Precedent for Music
Education
145
28.
Lorenzo
Da Ponte
Recruits an Italian Opera Company for New York
149
29.
Music Education for American Girls
155
30.
Early Expressions of Cultural Nationalism (Hopkins, Fry, Putnam's
Monthly)
160
31.
John S. Dwight Remembers How He and His Circle "Were but Babes
in Music"
165
32.
George
Templeton
Strong Hears the American Premiere of Bee¬
thoven's Fifth
171
33.
German Americans Adapting and Contributing to Musical Life
175
34.
Emil Klauprechťs
German-American Novel Cincinnati;
oder,
àie.
Geheimnisse des Westens 180
35.
P. T.
Barnum
and the Jenny
Lind
Fever
185
36.
Miska
Hauser,
Hungarian Violinist, Pans for Musical Gold
190
37.
From the Journals of Louis Moreau
Gottschalk 195
38.
The "Four-Part Blend" of the Hutchinson Family
202
39.
Walt Whitman's Conversion to Opera
207
40.
Clara Kellogg and the Memoirs of an American
Prima
Donna
211
41.
Frederick Douglass from My Bondage and My Freedom
219
42.
Harriet Beecher Stowe and Two Scenes from Uncle Tom's Cabin
225
43.
From Slave Songs of the United States
(1867) 229
44.
A Sidebar into Memory: Slave Narratives from the Federal Writers'
Project in the New Deal
235
45.
George F. Root Recalls How He Wrote a Classic Union Song
242
46.
A Confederate Girl's Diary during the Civil War
245
47.
Soldier-Musicians from the North and the South Recall Duties on
the Front
250
48.
Ella Sheppard Moore:
A Fisk
Jubilee Singer
258
49.
Patrick S.
Gilmore
and the Golden Age of Bands (Newspaper Review,
Herbert) 266
50.
Theodore Thomas and His Musical Manifest Destiny (Rose Fay
Thomas, Theodore Thomas)
270
xxvi
Í8S0-Í920
51.
John Philip
Sousa:
Excerpts from His Autobiography
281
52.
Why Is a Good March like a Marble Statue? (Pryor, Fennell)
285
53.
Willa
Cather Mourns the Passing of the Small-Town Opera House
293
54.
Henry Lee Higginson and the Founding of the Boston Symphony
Orchestra
297
55.
American Classical Music Goes to the Paris World's Fair of
1889 301
56.
George Chadwick's Ideals for Composing Classical Concert Music
304
57.
Late Nineteenth-Century Cultural Nationalism: The Paradigm of
Dvorak (Creelman, Paine, Burleigh)
308
58.
Henry Krehbiel Explains a Critic's Craft and a Listener's Duty
316
59.
Amy Fay Tackles the "Woman Question"
320
60.
Amy Beach, Composer, on "Why I Chose My Profession"
323
61.
Edward MacDowell, Poet-Composer, Remembered (Currier,
Gilman)
330
62.
Paul
Rosenfelďs
Manifesto for American Composers
336
63.
From the Writings of Charles Ives
341
64.
Frederic Louis
Ritter
Looks for the "People's Song"
348
65.
Frances
Densmore
and the Documentation of American Indian
Songs and Poetry
352
66.
A Sidebar into National Cultural Policy: The Federal Cylinder Project
357
67.
Charles K. Harris on Writing Hits for Tin Pan Alley
361
68.
Scott Joplin, Ragtime Visionary (Scott Joplin, Lottie Joplin)
366
69.
A Sidebar into the Ragtime Revival of the 1970s: William
Bolcom
Reviews The Collected Works of Scott Joplin
371
70.
James Reese Europe on the Origin of "Modern Dances"
375
71.
Irving Berlin on "Love-Interest as a Commodity" in Popular Songs
378
72.
Caroline Caffin on the "Music and Near-Music" of Vaudeville
384
73.
Ferdinand "Jelly Roll" Morton Describes New Orleans and the Dis¬
cipline of Jazz
390
Ï920-Ï950
74.
Bessie Smith, Artist and Blues Singer (Press Notice, Bailey,
Schuller) 399
75.
Thomas Andrew Dorsey "Brings the People Up" and Carries Him¬
self Along
404
76.
Louis Armstrong in His Own Words
409
77.
Gilbert Seldes Waves the Flag of Pop
414
78.
Al Jolson
and The Jazz Singer
417
79.
Carl Stalling, Master of Cartoon Music: An Interview
421
80.
A Sidebar into Postmodernism: John
Zorn
Turns Carl Stalling into
a Prophet
428
81.
Alec Wilder Writes Lovingly about Jerome Kern
431
82.
George Gershwin Explains That "Jazz Is the Voice of the American
Soul"
435
XXVtt
83. William
Grant
Still,
Pioneering African-
American
Composer (Still,
Locke, Still)
439
84.
The Inimitable Henry Cowell as Described by the Irrepressible Nico¬
las Slonimsky
44^
85.
Ruth Crawford Seeger and Her "Astonishing Juxtapositions"
450
86.
"River Sirens, Lion Roars, All Music to
Varèse": An
Interview in
Santa Fe
45
б
87.
Leopold Stokowski and "Debatable Music"
461
88.
Henry Leland Clarke on the Composers Collective
463
89. Marc Blitzstein In
and Out of the Treetops of The Cradle Will Rock
466
90.
Samuel Barber and the Controversy around the Premiere of Adagio
for Strings (Downes, Pettis, Menotri, Harris)
470
91.
Virgil Thomson, Composer and Critic
475
92.
Arthur
Berger
Divides Aaron Copland into Two Styles, and Copland
Puts Himself Back Together Again
480
93.
Aaron Copland on the "Personality of Stravinsky"
487
94.
The American Period of Arnold
Schoenberg
(Sessions, Newlin)
489
95.
The Bristol Sessions and Country Music
495
96.
Uncle Dave Macon, Banjo Trickster, at the Grand
Ole Opry
500
97.
A Sidebar into the Folk Revival: Harry Smith's Canon of Old-Time
Recordings
502
98.
Zora
Neale Hurston on "Spirituals and Neo-Spirituals"
506
99.
The Hard Times of Emma Dusenbury, Source Singer
510
100.
John and Alan Lomax Propose a "Canon for American Folk Song"
512
101.
Woody Guthrie Praises the "Spunkfire" Attitude of a Folk Song
519
102.
Fred Astaire Dances like a Twentieth-Century American (Williams)
523
103.
The Innovations of Oklahoma!
(de Mille, Engel) 527
104.
Duke
Ellington
on Swing as a
Way of life
532
105.
Malcolm X Recalls the Years of Swing
538
106.
The Many Faces of
Billie
Holiday (Holiday, Wilson, Bennett)
544
107.
Ralph Ellison on the Birth of Bebop at Minton's
553
Í950-Í975
108.
Ella Fitzgerald on Stage (Peterson)
561
109.
Leonard Bernstein Charts an Epic Role for Musical Theater
565
no. Stephen
Sondheim
on Writing Theater Lyrics
570
in. Muddy Waters Explains Why "It Doesn't Pay to Run from Trouble"
575
112.
Elvis Presley in the Eye of a Musical Twister (Newspaper Reviews,
Gould, Lewis)
580
113.
Chuck Berry in His Own Words
588
114.
The Five-String Banjo: Hints from the
1960s
Speed Master, Earl
Scruggs 593
115.
Pete Seeger, a TCUSAPSS, Sings Out!
598
116.
Bob Dylan Turns Liner Notes into Poetry
602
117.
Janis
Joplin Grabs Pieces of Our Hearts (Joplin, Graham)
605
xxvm
118. "Handcraffing
the Grooves" in the Studio: Aretha Franklin at Mus¬
cle Shoals (Wexler)
612
119.
JimiHendrix, Virtuoso of Electricity (Hendrix, Bloomfield)
619
120.
Amiri
Baraka
Theorizes a Black Nationalist Aesthetic
625
121.
Greil Marcus and the New Rock Criticism
630
122.
Charles Reich on the Music of "Consciousness III"
636
123.
McCoy Tyner on the Jubilant Experience of John Coltrane's Classic
Quartet
642
124.
Miles Davis: Excerpts from His Autobiography
649
125.
A Vietnam Vet Remembers Rocking and Rolling in the Mud of War
654
126.
George Crumb and Black Angels: A Quartet in Time of War (Crumb,
Harrington)
658
127.
Milton Babbitt on Electronic Music (Babbitt, Brody and Miller)
661
128.
Edward T. Cone Satirizes Music Theory's New Vocabulary
669
129.
Mario Davidovsky: An Introduction (Chasalow)
678
130.
Elliott Carter on the "Different Time Worlds" in String Quartets
Nos.
1
and
2 682
131.
John Cage: Words and Music of Changes (Cage, Anderson)
686
132.
Harold
Schonberg
on "Art and Bunk, Matter and Anti-Matter"
692
133.
Pauline
Oliveros,
Composer and Teacher
696
134.
Steve Reich on "Music as a Gradual Process"
699
1975-2000
135.
Star Wars Meets Wagner (Dyer, Tomlinson)
705
136.
Tom Johnson Demonstrates What Minimalism Is Really About
712
137.
Morton Feldman and His West German Fan Base (Feldman, Post)
715
138.
Philip Glass and the Roots of Reform Opera
722
139.
Laurie Anderson Does "Stand-Up" Performance Art (Anderson,
Gordon)
733
140.
Meredith Monk and the Revelation of Voice
741
141.
Recapturing the Soul of the American Orchestra (Duffy, Tower)
743
142.
Two Economists Measure the Impact of Blind Auditions
748
143.
John Harbison on Modes of Composing
756
144.
Wynton
Marsalis
on Learning from the Past for the Sake of the
Present
763
145.
John Adams, an American Master
771
146.
The Incorporation of the American Folklife Center
779
147.
Daniel J. Boorstin's Welcoming Remarks at the Conference on Eth¬
nic Recordings in America
782
148.
Willie
Colón
on "Conscious Salsa"
786
149.
The Accordion Travels through "Roots Music" (Savoy)
791
150.
Conjunto
Music
—
"A Very Beautiful Accordionate Flower" (Santiago
Jiménez, Flaco Jiménez, Jordán)
796
151.
Gloria Anzaldúa
on
Vistas y Corridos:
My Native Tongue
805
xxix
152.
Contemporary Native American Music and the Pine Ridge Reserva¬
tion (Porcupine Singers, Frazier)
808
153.
MTV and the Music Video (MoMA, Hoberman)
814
154.
Turning Points in the Career of Michael Jackson (Jackson, Jones)
820
155.
Sally Banes Explains Why "Breaking Is Hard to Do"
826
156.
Two Members of Public Enemy Discuss Sampling and Copyright
Law
830
157. DJ
Qbert, Master of Turntable Music
836
158.
A Press Release from the Country Music Association
83 9
159.
Ephemeral Music: Napster's Congressional Testimony
844
Index
849
xxx |
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| title | Music in the USA a documentary companion |
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