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Winner of both the Pulitzer Prize and the Grawemeyer Award, Aaron Jay Kernis achieved recognition as one of the leading composers of his generation while still in his thirties. Since then his eloquent yet accessible style, emphasis on melody, and willingness to engage popular as well as classical forms has brought him widespread acclaim and admiring audiences. This biography offers the first survey of the composer's life and work. Immersed in music by middle school, and later training under Theodore Antoniou, John Adams, Jacob Druckman, and others, Kernis rejected the idea of distancing his work from worldly concerns and composed on political themes. His Second Symphony, from 1991, engaged with the first Gulf War; 1993's Still Moment with Hymn was a reaction to the Bosnian Genocide; and the next year's Colored Field and 1995's Lament and Prayer dealt with the Holocaust. Yet Kernis also used sources as disparate as futurist agitprop and children's games to display humor in his work. The book's analysis addresses not only Kernis's wide range of subjects but also the eclecticism that has baffled critics, analyzing his dedication to synthesis and the themes consistent in his work. The book gives a rare mid-career portrait of a major American cultural figure.

An invention of the Industrial Revolution, the accordion provided the less affluent with an inexpensive, loud, portable, and durable “one-man-orchestra” capable of producing melody, harmony, and bass all at once. This book considers the accordion and its myriad forms, from the concertina, button accordion, and piano accordion familiar in European and North American music to the more exotic-sounding South American bandoneón and the sanfoninha. Capturing the instrument's spread and adaptation to many different cultures in North and South America, the chapters illuminate how the accordion factored into power struggles over aesthetic values between elites and working-class people who often were members of immigrant and/or marginalized ethnic communities. Specific histories and cultural contexts discussed include the accordion in Brazil, Argentine tango, accordion traditions in Colombia and the Dominican Republic, cross-border accordion culture between Mexico and Texas, Cajun and Creole identity, working-class culture near Lake Superior, the virtuoso Italian-American and Klezmer accordions, Native American dance music, and American avant-garde.

The music of Alec Wilder (1907–1980) blends several American musical traditions, such as jazz and the American popular song, with classical European forms and techniques. Stylish and accessible, Wilder's musical oeuvre ranged from sonatas, suites, concertos, operas, ballets, and art songs to woodwind quintets, brass quintets, jazz suites, and hundreds of popular songs. Wilder enjoyed a close musical kinship with a wide variety of musicians, including classical conductors such as Erich Leinsdorf, Frederick Fennell, and Gunther Schuller; jazz musicians Marian McPartland, Stan Getz, and Zoot Sims; and popular singers including Frank Sinatra, Mabel Mercer, Peggy Lee, and Tony Bennett. In this biography and critical investigation of Wilder's music, Wilder's early work as a part-time student at the Eastman School of Music, his ascent through the ranks of the commercial recording industry in New York City in the 1930s and 1940s, his turn toward concert music from the 1950s onward, and his devotion late in his life to the study of American popular songs of the first half of the twentieth century are chronicled. The book discusses some of his best-known music, such as the revolutionary octets and songs such as I'll Be Around, While We're Young, and Blackberry Winter, and explains the unique blend of cultivated and vernacular traditions in his singular musical language.

The book seeks to answer these questions: Why are there more than 150 gamelans (Indonesian percussion ensembles) in North America, and why are more than half of them associated with American colleges and universities? How and why did gamelan ensembles spark the ethnomusicological imagination? What impact have these ensembles had on college music programs, their local communities, and transnational Indonesian performing arts scenes? How does a lifetime of teaching foreign college students shape the lives of non-American music teachers? First providing an overview of gamelan and its incorporation in education in North America, this book uses the story of the career and community of one performer-teacher, I Made Lasmawan of Bali and Colorado, as a case study to examine the formation and sustenance academic world music ensembles. It examines the way students develop musical and cultural competence by learning gamelan in traditional ethnomusicology ensemble courses and analyzes the merits of including gamelan ensembles in studies in percussion, composition, and music education. More broadly, the book argues that beyond the classroom, the presence of these ensembles shapes transnational arts education and touristic performing arts scenes in Bali. Finally, it advocates for world music ensemble courses as a powerful means for teaching musical and cultural diversity and sparking transnational exchanges, both in and outside the classroom.

This book employs twenty-five years' worth of rich interviews with black and white Virginians, Tennesseeans, and Kentuckians to explore the evolution and social uses of dance in each region. It analyzes how issues as disparate as industrialization around coal, race relations, and the 1970s folk revival profoundly influenced freestyle clogging and other dance forms. The book then reveals how African Americans and Native Americans, as well as European immigrants drawn to the timber mills and coal fields, added to local dance vocabularies. By placing each community in its sociopolitical and economic context, the book explores how the formal and stylistic nuances found in Appalachian dance reflect the beliefs, shared understandings, and experiences of the community at large. The book examines the dynamism of Appalachian dance traditions and the creativity involved in their evolution. Focusing on six dance communities, the book documents the experience of dancing as people have enjoyed it, or continue to enjoy it. It also explores the dance communities' divergent responses to social change, including industrialization, as well as the use of dance for community development.

A substantial body of musical literature for solo and ensemble percussion was created in the twentieth century. This book examines percussion literature’s evolution: how it came to be and the styles that composers embraced as they produced a large body of music for percussion instruments alone. The focus is on the music that was created, the various genres that arose, and the composers who contributed seminal works. The question is posed: What world and cultural events brought composers to reject the past and embrace modernism? The twentieth century is notable for its many technological advances as well as for the global conflicts that disrupted the lives of millions. Both had significant impact on the arts. Tape recorders, synthesizers, and computers became useful tools for the avant-garde composer. Artists, exiled from their homelands by the war’s devastation, arrived in the Americas with new ideas to share. On the West Coast of the United States, composers found that percussion music was an ideal accompaniment for a nascent modern dance movement. The end of World War II brought monumental change to higher education and to music education in the States. College-trained percussionists became an important resource for the modern composer, who contributed new solo and ensemble works to the percussion canon. The twentieth century witnessed the rise of the percussive arts to a status equal to that of other instrumental groups.

A publication of the American Bach Society, this book pioneers new areas of research into the life, times, and music of the master composer. This volume is a collection of groundbreaking essays exploring various aspects of Johann Sebastian Bach's organ-related activities. Bach's report on Johann Scheibe's organ at St. Paul's Church in Leipzig is reconsidered. The likely provenance and purpose of a collection of chorale harmonizations copied in Dresden is clarified. The ways various independent trio movements served Bach as an artist and teacher is investigated. The origins of concerted Bach cantata movements are sought, spotlighting the organ and proposing family trees of both parent works and offspring. Finally, the book provides a broad cultural frame for such pieces and notes how their components engage in a larger discourse about the German Baroque organ's intimation of Heaven. The book provides an eighteenth-century context for Johann Sebastian Bach's cantatas with obbligato organ by showing how their various components engage in a larger discourse about the German Baroque organ: namely, its intimation of Heaven.

This volume investigates topics surrounding Johann Sebastian Bach and his five musically gifted sons. Robert Marshall takes on a deeply psychological perspective by examining how each of the Bach sons personally dealt with Sebastian’s imposing legacy. Mary Oleskiewicz investigates the Bach family’s connections to historical keyboard instruments and musical venues at the Prussian court of Frederick “the Great.” David Schulenberg argues that Emanuel Bach’s most significant contribution to European music is the large and diverse body of keyboard music he composed for harpsichord, fortepiano, organ and the clavichord. Evan Cortens’s chapter takes a detailed view of Emanuel Bach’s singers, vocal performance materials, and pay records in Hamburg and concludes that, as in most other parts of Germany at that time, one singer per part was the norm for Emanuel’s liturgical music after 1767. Finally, Christine Blanken’s essay continues research into Breitkopf’s publishing firm. Her discovery of unknown manuscripts by several members of the Bach family demonstrates much about what we can still learn about musical transmission, performance practice, and concert life in Bach’s Leipzig.

This addition to the Bach Perspectives series offers a counter-narrative to the isolated genius status that J. S. Bach and his music currently enjoy. The book contextualizes Bach by examining the output, reputation, and compositional practices of his contemporaries in Germany whose work was widely played and enjoyed in his time, including Georg Philipp Telemann, Christoph Graupner, Gottlieb Muffat, and Johann Adolf Scheibe. Chapters place Bach and his work in relation to his peers, examining avenues of composition they took while he did not and showing how differing treatments of the same subjects or texts resulted in markedly different compositional results and legacies. By looking closely at how Bach's contemporaries addressed the tasks and challenges of their time, this project provides a more nuanced view of the musical world of Bach's time while revealing in more specific terms than ever how and why Bach's own music remains fresh and compelling.

This book presents the rich backstories of thirteen performances captured on Library of Congress field recordings between 1934 and 1942 in locations reaching from Southern Appalachia to the Mississippi Delta and the Great Plains. These performances were recorded in kitchens and churches, on porches and in prisons, in hotel rooms and school auditoriums. Documented during the golden age of the Library of Congress recordings, they capture not only the words and tunes of traditional songs but also the sounds of life in which the performances were embedded: children laugh, neighbors comment, trucks pass by. The book's author sought out the performers on these recordings, their families, fellow musicians, and others who remembered them. The book reconstructs the sights and sounds of the recording sessions themselves and how the music worked in all their lives. Some of these performers developed musical reputations beyond these field recordings, but for many, these tracks represent their only appearances on record: for example, prisoners at the Arkansas State Penitentiary jumping on “the Library's recording machine” in a rendering of Rock Island Line. The profiles and abundant photos in the book bring to life largely unheralded individuals—domestics, farm laborers, state prisoners, schoolchildren, cowboys, housewives and mothers, loggers and miners—whose music has become part of the wider American musical soundscape. By exploring how these singers and instrumentalists exerted their own creativity on inherited forms, “amplifying tradition's gifts,” the book shows how a single artist can make a difference within a democracy.

This book explores the transformations undergone by the residents of a Midwestern town when they step out on the dance floor for the very first time. The book uses sensitive fieldwork as well as the author's own immersion in ballroom culture to lead readers into a community that springs up around ballroom dance. It demonstrates how the contemporary performance of ballroom dance among amateurs generates feelings of positive personal transformation, of becoming beautiful. The book also discusses the dance hall as a social space where disparate groups come together to move in synchrony, along with the ways in which race, class, and gender converge in ballroom dancing. The result is a portrait of the real people who connect with others, change themselves, and join a world that foxtrots to its own rules, conventions, and rewards. The author's eye for revealing, humorous detail adds warmth and depth to discussions around critical perspectives on the experiences the dance hall provides, the nature of partnership and connection, and the notion of how dancing allows anyone to become beautiful. The book also considers the relationship between aesthetic values and becoming beautiful.

This book investigates the musical life of Johann Sebastian Bach’s Germany from the perspectives of those who lived in it. The men, women, and children of the era are treated here not as extras in the life of a famous composer but rather as protagonists in their own right. The primary focus is on keyboard music, from those who built organs, harpsichords, and clavichords, to those who played keyboards recreationally and professionally, and those who supported their construction through patronage. Examples include: Barthold Fritz, a clavichord maker who published a list of his customers; Christiane Sibÿlla Bose, an amateur keyboardist and close friend of Bach’s wife; the Countesses zu Epstein, whose surviving library documents the musical interests of teenage girls of the era; Luise Gottsched, who found Bach’s music less appealing than that of Handel; Johann Christoph Müller, a keyboard instructor who fell in love with one of his aristocratic pupils; and Carl August Hartung, a professional organist and fanatical collector of Bach’s keyboard music. The book draws on published novels, poems, and visual art as well as manuscript account books, sheet music, letters, and diaries. For most music lovers of the era, J. S. Bach himself was an impressive figure whose music was too challenging to hold a prominent place in their musical lives.

This is a book about thinking, interpreting, and writing about music in performance that incorporates how race, gender, sexuality, and nation help shape the analysis of opera today. Case-study operas are chosen within the diaspora of the United States and South Africa. Both countries had segregation policies that kept black performers and musicians out of opera. During the civil rights movement and after apartheid, black performers in both countries not only excelled in opera, they also began writing their own stories into the genre. Featured operas in this study span the Atlantic and bring together works performed in the West (the United States and Europe) and South Africa. Focal works are: From the Diary of Sally Hemings (William Bolcom and Sandra Seaton), Porgy and Bess, and Winnie: The Opera (Bongani Ndodana-Breen). A chapter is devoted to the nineteenth-century Carmens (novella by Mérimée and opera by Bizet) and black settings in the United States (Carmen Jones, Carmen: A Hip Hopera) and South Africa (U-Carmen eKhayelitsha). Woven within the discussions of specific works are three rubrics for how the text and music create the drama: Who is in the story? Who speaks? and Who is in the audience doing the interpreting? These questions, combined with a historical context that includes how a work also resonates in the present day, form the basis for an engaged musicological practice.

This book critically examines the intersections of race and music in the multifaceted genre of opera. A diverse cross-section of scholars places well-known operas (Porgy and Bess, Aida, Treemonisha) alongside lesser-known works such as Frederick Delius's Koanga, William Grant Still's Blue Steel, and Clarence Cameron White's Ouanga! to reveal a new historical context for re-imagining race and blackness in opera. The volume brings a wide-ranging, theoretically informed, interdisciplinary approach to questions about how blackness has been represented in these operas, issues surrounding characterization of blacks, interpretation of racialized roles by blacks and whites, controversies over race in the theater and the use of blackface, and extensions of blackness along the spectrum from grand opera to musical theatre and film.

Behind the iconic jazz orchestras, vocalists, and stage productions of the Swing Era lay the talents of popular music's unsung heroes: the arrangers. This book takes the reader behind the scenes of New York City's vibrant entertainment industry of the 1930s and 1940s to uncover the lives and work of jazz arrangers, both black and white, who left an indelible mark on American music and culture. The book traces the extraordinary career of arranger Chappie Willet—a collaborator of Louis Armstrong, Cab Calloway, Duke Ellington, Gene Krupa, and many others—to revisit legendary Swing Era venues and performers from Harlem to Times Square. The book's insightful music analyses of big band arranging techniques explore representations of cultural modernism, discourses on art and commercialism, conceptions of race and cultural identity, music industry marketing strategies, and stage entertainment variety genres. Drawing on archives, obscure recordings, untapped sources in the African American press, and interviews with participants, the book is a study of the arranger during this dynamic era of American music history.

This book addresses the relationship between small-scale banjo makers and the musical community within which they function, specifically groups and individuals interested in the performance and promotion of old-time music, a style deeply invested with nostalgia and a romanticized view of rural American life. Within this environment, banjo builders provide not only instruments that continuously reference a collectively imagined past, but also expand that same conception to include elements that have heretofore been overlooked or purposely ignored, such as blackface minstrelsy and the role this 19^th century phenomenon played in advancing the popularity of the banjo. By introducing instruments that reference or replicate those used in this admittedly onerous practice, builders are contributing to the growing awareness within the old-time musical world that much of the music and its associated techniques are the result of centuries of interaction between black and white musicians. In doing so, they have also advanced the discourse regarding race and music in American society by demonstrating how deeply embedded these processes are in our nation’s history.

This book provides a sweeping cultural and historical examination of Diaspora dance genres. The book investigates social dances brought to the islands by Europeans and Africans, including quadrilles and drum/dances as well as popular dances that followed, such as Carnival parading, Pan-Caribbean danzas, rumba, merengue, mambo, reggae, and zouk. The book reviews sacred dance and closely documents combat dances, such as Martinican ladja, Trinidadian kalinda, and Cuban juego de maní. In drawing on scores of performers and consultants from the region as well as on the author's own professional dance experience and acumen, the book adeptly places Caribbean dance in the context of cultural and economic globalization, connecting local practices to transnational and global processes and emphasizing the important role of dance in critical regional tourism. Throughout, the book reveals impromptu and long-lasting Diaspora communities of participating dancers and musicians.

This is the first comprehensive treatment of the remarkable music and influence of Carla Bley, a highly innovative American jazz composer, pianist, organist, band leader, and activist. Giving attention to Bley's diverse compositions over the last fifty years spanning critical moments in jazz and experimental music history, this book provides a long-overdue representation of a major figure in American music. Bley is best known for her jazz opera “Escalator over the Hill,” her role in the Free Jazz movement of the 1960s, and her collaborations with artists such as Jack Bruce, Don Cherry, Robert Wyatt, and Pink Floyd drummer Nick Mason. She has successfully maneuvered the field of jazz creating works that range from the highly accessible and tradition-based to commercially unviable and avant-garde. The book details the staggering variety in Bley's work as well as her use of parody, quotations, and contradictions, examining the vocabulary Bley has developed throughout her career and highlighting the compositional and cultural significance of her experimentalism. The book also points to Bley's professional and managerial work as a pioneer in the development of artist-owned record labels, the cofounder and manager of WATT Records, and the cofounder of New Music Distribution Service. The book shows Bley to be not just an artist but an activist who has maintained musical independence and professional control amid the profit-driven, corporation-dominated world of commercial jazz.

This book, a sweeping survey of intellectual and musical history, tells the new story of how the music of American composer Charles E. Ives (1874–1954) was shaped by shifting conceptions of American identity within and outside of musical culture. The book focuses on the critics, composers, performers, and scholars whose contributions were most influential in shaping the critical discourse on Ives, many of them marquee names of American musical culture themselves, including Henry Cowell, Aaron Copland, Elliott Carter, and Leonard Bernstein. The book explores both how Ives positioned his music amid changing philosophical and aesthetic currents and how others interpreted his contributions to American music. Although Ives's initial efforts to find a public in the early 1920s attracted a few devotees, the resurgence of interest in the American literary past during the 1930s made a concert staple of his “Concord” Sonata, a work dedicated to nineteenth-century transcendentalist writers. The book shows how Ives was subsequently deployed as an icon of American freedom during the early Cold War period and how he came to be instigated at the head of a line of “American maverick” composers. It also examines why a recent cadre of scholars has beset the composer with Gilded Age social anxieties.

In January 1921, New York insurance company executive Charles Ives mailed self-published scores of a piano sonata he had written to 200 strangers. Unprecedentedly complex and modern beyond any music the recipients had seen before, the piece was subtitled “Concord, Mass., 1840-1860,” and the four sonata movements were named for American authors: “Emerson,” “Hawthorne,” “The Alcotts,” “Thoreau.” Ridiculed in the press at first, the Concord Sonata gained admirers (including composers like Copland and Gershwin and writers like Henry Bellamann), and when finally given its complete world premiere by John Kirkpatrick in 1939, it was hailed as “the greatest music composed by an American.” The piece is so complex that it has never been fully analyzed before, and this book is the first to explore and detail its methods on every page. Likewise, Ives wrote a book to accompany the sonata, titled Essays Before a Sonata, purporting to explain his aesthetic thinking, and no one has ever before seriously examined Ives’s aesthetic through-argument.