the early 1940s. i fled from the auditorium. the...

The BulletinVol. XXVIII, No. 2 Summer 2002

O F T H E S O C I E T Y F O R A M E R I C A N M U S I C

F O U N D E D I N H O N O R O F O S C A R G . T. S O N N E C K

Everybody knows “The Star SpangledBanner” and some are aware that a fewAmericans want to dump it as our nationalanthem but fewer know what I mean by“emotional baggage” so let me begin there.In this essay “emotional baggage” is a non-musical factor in our perception of songs ormelodies that consciously or unconsciouslyaffects our thinking and rhetoric about them.

Mendelsohn’s and Wagner’s “WeddingMarches” cannot be played in the UnitedStates without conveying thoughts of mar-riage ceremonies, but basically these are non-musical associations or “emotional baggage.”Furthermore, in the USA, despite parodiesand attempts to adapt “Happy Birthday” toother occasions, only one text and tunesprings instantly to mind when a birthday isannounced.

I first learned the melody of “LaMarseilles” while playing duets with a friendin the 1930s. In July 1944, I also remembera large square in Naples where I heardBritish, French, and American militarybands playing their national anthems for aretreat ceremony. Neither experience madean emotional impression on me at the time.Then, on a hot day in mid-August 1944, Iwas marching north in the Rhone RiverValley in Southern France with Company L,15th Infantry Regiment, 3d InfantryDivision, following a group of FrenchResistance Fighters down a hill, into a seem-ingly deserted village with shuttered win-dows. The Frenchmen raced ahead, yellingand pounding on doors with their rifle

butts. By the time we caught up with themat the fountain in the Village Square, doorsand windows had been thrust open, thechurch bell was clanging at a furious rate anda few tiny Tricolors had appeared in thehands of some of the people, laughing,cheering, crying around the fountain. I didnot hear a cue that started them on a ragged,raucous singing of “La Marseilles” but it wasmagnificent! They made their anthem partof my emotional baggage!

Of course, singing a national anthemcan be defiant as well as triumphant. ThePBS series Russia’s War told of Frenchwomen, prisoners of the SS in Russia, whowent to their executions singing “LaMarseilles.”

America’s “Taps” did not become part ofmy emotional baggage until some years afterWorld War II. I never heard “Taps” in thearmy, except in training camps—at bedtimeover the PA system. But back in my homecity after the war, I was practice teaching inBuffalo Technical High School when theannual Memorial Day ceremony was sched-uled. From 1940 to 1943 I had stood atattention for the same ceremony in the sameauditorium, during the traditional playingof “Taps” to accompany the reading of thenames of Tech High Alumni killed inW.W.I. I had, of course, been respectful butI had had no particular emotion associatedwith the ceremony. However, for thisMemorial Day ceremony in 1952, I washearing the names of my personal friendsfrom the Tech High Band and Orchestra of

Emotional Baggage andTwo National Anthems

—Arthur Schrader

the early 1940s. I fled from the auditorium.So now, “Taps” takes me back—not to thebloody Anzio Beachhead or France, but tomy old high school.

I cannot know how serious some writersare about their objections to “The StarSpangled Banner” as our national anthem. Ido know that none of the advocates forchange have adequately considered the emo-tional baggage (and inertia) that sustain thepresent anthem for some Americans. Thespontaneous singing of “The Star SpangledBanner” after an American basketball victo-ry over the Russians at a Winter Olympics isa prime example.

Hendrick Hertzeberg’s article “StarSpangled Banter” in The New Yorker for 21 July 1997 was frequently witty and some-times perceptive but he left the reader withthe impression that only a disinterestedCongress and a few interest groups pushedthe song into its position as our officialanthem in 1931. Actually, Congress wasmainly “ratifying” a decision effectivelymade over decades by many Americans. TheWar of 1812 was no more than the occasionfor the text (the original tune, “Anacreon inHeaven” had been a “pop” hit with morethan 70 different settings of words whenFrancis Scott Key borrowed it for the sec-ond-time and no one then seems to havefound the music “unsingable.”).1 “The StarSpangled Banner” grew into American con-sciousness over the next 104 years duringmany July 4th celebrations, during theMexican War, the Civil War (theConfederates appropriated the tune for“The Southern Cross”) and World War I,when our Service Bands needed a distinctiveanthem for joint performances with Alliedbands.

Hertzeberg dismissed Ted Turner’s can-didate “America the Beautiful” as “wimpy”and recommended “Lift Every Voice andSing” by James Weldon Johnson and hisbrother, J. Rosemond Johnson. This seemsa worthy and thoughtful alternative but howmany Americans (black or white) alreadyknow it? Hertzeberg notes its alternate titleis “The Negro National Anthem” but it isnot in my copy of Lift Every Voice (People’sSongs Inc., 7th printing, 1964), with aForeword by Paul Robeson. The songbookLift Every Voice has what Hertzeberg calls the“musty Popular Front feeling” he attributesto “This Land is Your Land,” another candi-date for the official national anthem.

continued on page 18

18 The Bulletin for the Society for American Music • Vol. XXVIII, No. 2

None of the suggested replacements hasthe emotional baggage needed to sway amajority of the people or Congress.Whatever its musical, textual, or racial mer-its “Lift Every Voice and Sing” wouldn’t haveenough political support to make it throughCongress. “We Shall Overcome” mighthave a slightly better, though still doubtful,chance and there are too many candidatesfrom other constituencies for any of them tomake it either. My own choice would be“Hail Columbia,” which is totally“American,” coming from 1798 when fol-lowers of the two major political factionswere at each other’s throats. It was not war-like and lost out to the “Star SpangledBanner” in 1931. It no longer seems viable.

Add “This Land is Your Land” and“Columbia the Gem of the Ocean” to“America the Beautiful” and the multiplicityof choices is obvious, even without candi-dates from the “Religious Right.” “GodBless America” has also been proposed but afrequently inept article on “The StarSpangled Banner” in the Worcester SundayTelegram, 1 March 1981 reported that thecomposer, Irving Berlin was against the ideaand favored “The Star Spangled Banner.”

So where does this leave me on the issueof designating a different song to replace

“The Star Spangled Banner” as our nationalanthem? Pretty much neutral—actually I’mmostly an amused, rather cynical observer atthis stage who recognizes the textual andmusical problems inherent in the “StarSpangled Banner” but also sees any attemptat change as more trouble than it is worth.

I predict that if this matter actually isagain discussed in our Congress, the debatewill eventually turn as nasty as any in ourrecent history. We may expect that the nas-tiness in Congress will be reflected in (ororiginate in) nation-wide group accusations,with those favoring “America the Beautiful”characterized as “wimps;” proponents of“Lift Every Voice and Sing,” as “raciallymotivated;” those calling for Guthrie’s “ThisLand Is Your Land” as “superannuatedReds” and of course those who don’t wantany change , as “troglodytes.”

I certainly would not think of TedTurner as a “wimp” for liking “America theBeautiful” but if a change of anthem is seri-ously to be considered I would suggestTurner, as a critic of “The Star SpangledBanner” and owner of the Atlantic Braves tobe one of the best people in this country tolead off with action rather than just words.Apparently we still have with us the WorldWar II custom of beginning some sportsevents with the playing and singing of thenational anthem (this was also done at some

formal concerts during that war). Turnercould decree test runs at his team’s homegames in which the gentle strains of“America the Beautiful” would replace the“outdated militarism” of “The Star SpangledBanner.” That would give Mr. Turner a first-hand demonstration of how much “emo-tional baggage” comes with our presentnational anthem.

Musicians who choose to enter this argu-ment should first be aware that the “choice”of a national anthem is seldom made onmusical grounds. It is primarily a politicaldecision, strongly backed by traditions andemotional baggage.

REFERENCE. Oscar G. T. Sonneck(Late Head, Music Division, Library ofCongress) Report on The Star SpangledBanner, Hail Columbia, America [and]Yankee Doodle. (Washington D.C., 1909).See also, Sonneck, “The Star SpangledBanner,” (Revised and enlarged from the“Report” on the above and other airs, issued in1909), by Oscar George Theodore Sonneck(Washington D.C. 1914). (In spite of age,these are still the best studies of “The StarSpangled Banner.” Both Hill and Sonneckwere meticulous scholars.)

Arthur Schrader is a former teacher of his-tory, English and music who had mostly pri-vate tutors in music performance. He was fornineteen years Music Associate and BalladSinger at Old Sturbridge Village inMassachusetts, responsible for finding andrecreating the whole range of music one mighthave heard in a New England farm commu-nity, 1790-1840. He has also been an NEHfellow at the American Antiquarian Society aswell as a Visiting Professor of Music at theCollege of William and Mary.

Notes:1. Richard Hill (Late, Head of Reference,

Music Division, Library of Congress), “TheMelody of ‘The Star Spangled Banner’ inthe United States Before 1820” in Essays inHonor of Lawrence Wroth, (Portland, Maine,1951). (Hill found 68 texts to the musicthat became “The Star Spangled Banner”; Ihave since found more.)

The Bulletin of the Society for American MusicThe Bulletin is published in the Spring (March), Summer (July), and Fall (November) bythe Society for American Music. Copyright 2002 by the Society for American Music, ISSN0196-7967.

Editorial Board

Interim Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . Mariana Whitmer ([email protected])

Bibliographer . . . . . . . . . . . . . . . . . . . Joice Waterhouse Gibson ([email protected])

Indexer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Amy C. Beal ([email protected])

Items for submission should be addressed to Mariana Whitmer, Society for AmericanMusic, 405 Bellefield Hall, University of Pittsburgh, Pittsburgh PA 15260. All materialsshould be submitted in printed copy, on floppy disk, or as attachment to e-mail. Microsoft Word 5.1 or ASCII texts are the recommended file formats. Photographsor other graphical materials should be accompanied by captions and desired location in thetext. Deadlines for submission of materials are January 15, May 15, and September 15.

Emotional Baggage continued from page 17

Loretta Lynn: 2002 Honorary Member

Loretta Lynn’s life story is the stuff ofmovies. She was born in a tiny log cabin inButcher Holler, Kentucky, the second ofeight children. Married early to MooneyLynn, she moved with her growing family toWashington State, where job prospects werebetter than in the coal-mining region ofKentucky. There, she soon began singingwith local country bands. In 1960 LorettaLynn signed her first recording contract,with a small label out of Vancouver, BritishColumbia. She and Mooney personallymailed her first recording—“I’m a HonkyTonk Girl”—out to country music stationsacross the nation and then drove cross-coun-try, promoting it at every station that wouldgive them airtime. That work paid off, for itrose to #14 on the country music charts andled to her first appearance on the Grand OleOpry. By the middle of the 1960s, LorettaLynn was writing and performing songs thatspoke not to the then-developing youth cul-ture, but to adults with a special set of life-problems, generally ones of the heart. Manyof her best and best-known songs, such as“You Ain’t Woman Enough [To Steal myMan]” and “Don’t Come Home A Drinkin’[With Lovin’ on your Mind]” articulate awoman’s perspective, which was rare then ina music that had mainly been by and aboutmen. Appropriately, Loretta Lynn became,in 1972, the first woman to win“Entertainer of the Year” from the CountryMusic Association. Her star rose even high-er in 1976 with the publication of her best-selling autobiography, Coal Miner’sDaughter, a title she borrowed from anotherof her hits. Her book and her life soon afterbecame the source and subject for a success-ful and highly acclaimed movie, one thatappealed not just to lovers of country musicbut to general audiences across the nationand around the world. She continues towrite, perform, and record, for her legions offans would not have it otherwise. And shehas been honored by her peers and col-leagues: she is a long-standing member ofthe Grand Ole Opry (where she still makesregular appearances) and she was elected in1988 to the Country Music Hall of Fame.To paraphrase another of her hits: “You’veCome a Long Way, Loretta!”

No singer, songwriter, musician,Kentuckian, woman, or person is moredeserving of the special attention we pay

Loretta Lynn today. By her talent, work,accomplishments, and humanity are we allgraced. The Society for American Music isdeeply honored to welcome Loretta Lynninto membership in our society of lovers ofAmerica’s music.

—Dale Cockrell, Vanderbilt University

Loretta Lynn’s plaque reads: “In recog-nition of your significant contributions toAmerican music as a performer and song-writer. Your life and music have been aninspiration to many others.”

Charles Hamm ReceivesLifetime Achievement Award

With its award for LifetimeAchievement, the Society for AmericanMusic recognizes and celebrates the singularcontributions of Charles Edward Hamm,historian, teacher, and composer ofAmerican music. It is our good fortune thatthis charismatic Virginian spurned profes-sional baseball to take up a career in music.After earning his BA degree at his home-

The Bulletin for the Society for American Music • Vol. XXVIII, No. 2 19

The Society for American MusicThe Society for American Music promotes research, educational projects, and the dissemination of

information concerning all subjects and periods embraced by the field of music in American life.Individual and institutional members receive the quarterly journal American Music, the Bulletin, and theannotated Membership Directory. Direct all inquiries to The Society for American Music, 405 BellefieldHall, University of Pittsburgh, Pittsburgh PA 15260; (412) 624-3031; [email protected].

Officers of the Society, 2001-2002President . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Paul WellsPresident-Elect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Carol OjaVice President . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Larry WorsterSecretary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . R. Allen LottTreasurer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . George KeckMembers-at-large . . . . . . . . . . . . . . . . . . . . . . . . . . George Boziwick, Michael Broyles, Linda Pohly,

Mary DuPree, Denise Von Glahn, Josephine WrightEditor, American Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . David NichollsExecutive Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Mariana WhitmerConference Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . James Hines

Standing Committee Chairs:Finance: William Everett; Long-Range Planning: Paul Wells, Development: Ann Sears, Honors and

Awards: Anne Dhu McLucas, Dissertation 2001: Karen Ahlquist, Mark Tucker Award: Nym Cooke,Membership: Marilynn Smiley; Conference Site Selection: Kay Norton; Nominating: Deane Root; PublicRelations: Homer Rudolf; Book Publications Subvention (Johnson Bequest): Denise Von Glahn, SilentAuction: Dianna Eiland; Publications: Dale Cockrell

Appointments and Ad Hoc Committees:ACLS Delegate: Anne Dhu McLucas; Archivist: Susan Koutsky; Committee on Publication of

American Music: Judith McCulloh; US-RILM Representative: Denise Von Glahn; Registered Agent forthe District of Columbia: Cyrilla Barr.

Interest Groups:American Band History: Susan Koutsky; American Music in American Schools and Colleges: James V.

Worman; Folk and Traditional Music: Ron Pen; Gay/Lesbian/Bisexual/Transgendered: David Patterson;Gospel and Church Music: Esther Rothenbusch and Roxanne Reed; Music of Latin America and theCaribbean: John Koegel; Musical Biography: Adrienne Fried Block; Musical Theatre: Paul R. Laird; PopularMusic: Kirsten Stauffer Todd, Philip A. Todd; Research on Gender and American Music: Liane Curtis;Research Resources: George Boziwick; 18th Century Music: David Hildebrand; 20th Century Music: DavidPatterson; Historiography: Paul Charosh; Students: Felicia Miyakawa, Maria Cizmic

Electronic ResourcesListserv: [email protected]

Web site: http://www.american-music.org

Annual Conferences29th Annual Conference: 25 February–2 March 2003; Tempe, Arizona

Catherine Parsons Smith, Program Committee ChairKaren Bryan, Local Arrangements Chair

November is AMERICAN MUSIC MONTH

RE P O RT F RO M T H E CO N F E R E N C E



town University of Virginia in Charlottes-ville, he studied with Randall Thompson anda cadre of German immigrant musicologistsat Princeton University where he gained thePh.D. The systematic musicologicalapproach he acquired there in his work onRenaissance music launched his career,which led him first to a teaching position atthe Cincinnati Conservatory of Music.

He was always aware of the musicaround him, and it was in Ohio that one ofhis first writings on American musicappeared, chronicling the careers andhymnody of the Chapin brothers, who heldsome of the earliest singing schools in theShenandoah Valley of Virginia and in Ohio.Here too he wrote his first operas, most tohis own librettos based on American litera-ture. And he was among the first to intro-duce the music of Charles Ives to college stu-dents, in the days before recordings and edi-tions of his music were widely available.

In 1959 Charles Hamm moved toTulane, where he continued composingoperas and chamber music for voices andinstruments. During his New Orleanssojourn, Gilbert Chase joined the facultyand established his Inter-American MusicInstitute, one of the first academic centersfor the study of music from this hemisphere.

In 1963, Hamm left Tulane for theUniversity of Illinois where he excelled atteaching through lectures, seminars, andmentoring. His classes on American musichistory, sheet music and popular musicspurred his research and led him to writelandmark books. In his courses as in hiswriting, he presented even complex ideas inclear, well-organized fashion. He was anengaging and much sought-after teacher;even ethnomusicology students took hisclass on Renaissance manuscripts.

Before leaving Illinois for Dartmouth in1976 so he could focus on teaching andwriting, he proposed creating a nationalunion catalog of American musical archives,an idea that led to the Resources of AmericanMusic History directory. In the mid-1970she helped plan the Rockefeller Foundationproject to create a one-hundred record set ofhistorical American music (now New WorldRecords), and in 1983 W.W. Norton pub-lished his book Music in the New World, thefirst history of music in the United States forwhich readers could actually hear most ofthe works discussed. Among its many con-tributions, this book established his idea thatthe mixture of cultural backgrounds in the

United States gave rise to distinctlyAmerican music, different in character fromwhat had been brought to this continentfrom elsewhere. And it championed thestudy of what Hamm called “invisiblemusic,” the performance of music in oraltradition unaccompanied by the writtenrecords normally favored by historians.

Equally influential was his bookYesterdays: Popular Song in America (Norton,1979), the first musicological study of thefull sweep of American popular song. Andhe wrote the first article on American popu-lar music for The New Grove Dictionary ofMusic and Musicians. Only after their pub-lication did popular music become anacceptable topic for college courses, refereedpublications, and scholarly meetings.

During sabbaticals and following retire-ment in 1989, he traveled to South Africaand China where he was a keen observer ofAmerican music in other cultures. Mostrecently, he has written about and edited theearly songs of Irving Berlin, creating one ofthe first scholarly editions of American pop-ular songs.

But for all their significance, these accom-plishments are only the beginning of CharlesHamm’s story. His greatest achievementsmay lie in championing American music as afield of study and teaching. No fewer thanthree of this Society’s eight past presidentswere among his students. Those who had theprivilege of studying with him never felt theywere doing work for him, but always felt theywere working with him in discovering newthings about themselves and music.Through his example, he has advocated a fulllife of music making, listening, and under-standing. All of us are influenced by him,and we are still enjoying the discovery.

—Deane Root, University of Pittsburgh

(The plaque reads:) “In recognition ofyour lifelong leadership and dedication toscholarship and teaching in Americanmusic.”

Society for American MusicAwards2001 Lowens Book Award

The Irving Lowens Book AwardCommittee for year 2000 considered themerits of 28 books before arriving at itsunanimous choice: Carol J. Oja’s MakingMusic Modern: New York in the 1920s.Using the title’s focus, Oja demonstrateshow musical, artistic, philosophical, and

social forces converged to produce a radical-ly new, American expression independent ofEuropean prototypes. Such familiar figuresas Aaron Copland, Henry Cowell, RuthCrawford, and Virgil Thomson play promi-nently in the narrative, but unexpectedactors also appear in significant roles, DaneRudhyar being a prime example. Adding tothis new view of the era’s musical directionsare accounts of personal quirks, self-promo-tion, advertising, and theatricality, all ele-ments contributing to the dynamism thatmade music modern.

On behalf of the Lowens Book AwardCommittee, composed also of WilmaCipolla, William Kearns, Judith Tick, andCharles Wolfe, I am honored to presentCarol Oja with this well deserved award.

—Edward A. Berlin, Chair

2001 Lowens Article AwardThe 2001 Lowens Article Award was

presented to John Graziano for “The EarlyLife and Career of the ‘Black Patti’: TheOdyssey of an African American Singer inthe Late Nineteenth Century,” published inthe Journal of the American MusicologicalSociety Vollume 53, Number 3. The com-mittee, chaired by John Koegel, consisted ofAnn Sears, Carol Hess, Paul Laird, andMichael Pisani. Here are John’s comments:

Graziano’s study is a thoughtful, cultural-ly sensitive, and thorough investigation of theearly life, career, and influence of a veryimportant African American singer of the latenineteenth century. Graziano tackles issues ofrace and ethnicity, transcultural and transna-tional musical exchange, biography, and thedissemination of musical repertoriesthroughout the Americas in a mannerdesigned to interest the specialist as well as thegeneral reader. While it is free of jargon in itsprose style, Graziano’s article also represents a“state-of-the-art” integration of all currentknowledge about this important aspect ofAmerican and African American musical cul-ture. While taking as its primary purpose thestudy of the life and career of one singer,Graziano’s article also by extension coversmuch of the cultural field of AfricanAmerican and European American musicallife at the end of the century. Graziano mostappropriately considers the Black Patti in herglobal connection, since he includes extensivecoverage of her activities in the Caribbean.Graziano’s is a model study for future researchinvolving the spread of American music tra-ditions, repertories, and musicians wellbeyond the limits of the U.S. border.

—John Koegel

Report from the Conference, continued from page 19


Wiley Housewright Dissertation Award

The results of the DissertationCompetition for the year 2000 suggest ahealthy future for scholarship in Americanmusic. All fifteen submissions received wereheld to rigorous examination based on crite-ria agreed upon in advance by theCommittee. High priority was given to theoriginality of the subject, comprehensive-ness, depth and analysis of research and sig-nificance of the study. Since it was agreedthat the winning selection should be an out-standing piece of scholarship much empha-sis was placed upon the quality and style ofthe writing as well. Happily this year’s win-ning work meets all of these criteria. It is atonce a very detailed study based upon animpressive variety of sources, ably broughttogether in an organized fashion and writtenin a clear and engaging style. In the opinionof the Committee the author has succeededin creating a work that should stand as animportant addition not only to studies in itsprecise field, but also to Afro-American stud-ies and American cultural history in general.

It is a pleasure to present the award of theSociety for American Music for the year2000 to Sandra Graham for her dissertationentitled, “The Fisk Jubilee Singers and theConcert Spiritual: The Beginning of anAmerican Tradition.”

—Cyrilla Barr

Mark Tucker Award“I was lucky enough to know Mark

Tucker as both a good friend and as a col-league. Presenting the first Mark TuckerAward is therefore particularly poignant, inthat my feelings are of both great honourand immeasurable sadness.

The selection committee consisted ofNym Cooke (chair), Judith Tick, and DavidNicholls. We considered ten submissions,and it wasn’t an easy job: over half of thepapers were serious contenders, and whit-tling down the shortlist of three or four to aneventual winner was particularly difficult.

Although Mark’s own research interestswere not considered as a factor in our delib-erations, we were nonetheless delighted thatthe eventual winner was a paper on a jazztopic. In ‘Louis Armstrong and the Sound ofMigration,’ Charles Hiroshi Garrett paints—in the words of one of my co-selectors—‘arich portrait of a major musician at a crucialpoint in his career, beautifully focussedthrough the lens of a single recording.’Uniquely among the ten submissions, we

felt there was poetry here, as well as intellec-tual creativity and the opening of paths tofresh scholarship and new interpretations.Finally—and we didn’t know this at the timeof our deliberations—we were delighted todiscover a few days ago that Chuck is a for-mer student of Mark’s.

It therefore gives me great pleasure topresent the first Mark Tucker Award toCharles Hiroshi Garrett, for his paper ‘LouisArmstrong and the Sound of Migration.’”

—David Nicholls

Interest Group ReportsAmerican Band History ResearchInterest Group

The American Band History ResearchInterest Group met in Lexington with eightpeople in attendance. The group remem-bered Phyllis Danner, former chair of theinterest group, who recently passed away.Phyllis was the archivist at the University ofIllinois’s Sousa Archives for Band Research(SABRE) and played an important role inpromoting and educating people about band music both in her institution and inSAM. The group continued with a discus-sion of possible program topics for the 2003Phoenix conference and the 2004 Clevelandconference. To contact the interest groupchair, Susan Koutsky, send an e-mail mes-sage to [email protected].

—Susan Koutsky

Interest Group on Research in Genderand American Music

Three distinguished Jazz scholars,Tammy L. Kernodle (Miami University, Ohio), Sherrie Tucker (University ofKansas), and David Ake (University ofNevada, Reno) offered a range of insights ina panel entitled “Masculinities, Femininitiesand Sexualities in Jazz” Tammy L. Kernodleaddressed questions of image and identity inthe lives of some black women instrumen-talists. In building their professional identi-ties they had to confront the pervasive por-trayal of black women as either whore ormammy. Kernodle considered Mary LouWilliams, who often served in a caretakingfunction in the lives of the male musicians ofher circle, and had to struggle to be takenseriously as an artist.

Also addressing the function of publicimage and identity, David Ake discussed theconfiguring of the “sensitive, white male” as

represented by Bill Evans. This introspectivemusical style has its own distinct set of phys-ical gestures, which Ake demonstrated at thepiano. He also demonstrated a contrastingstyle and set of gestures, outgoing and gre-garious, with gestures aimed at connectingwith the audience. This outgoing style wasassociated with black musicians, for instanceEllington or Bud Powell.

Sherrie Tucker drew from her forthcom-ing article “‘Big Ears’: Listening to Womenin Jazz” to point out the many ways thatwomen have been and continue to be invisi-ble as subjects in Jazz Studies. The methodsthat are employed include the token men-tion of one women to excuse ignoring thecontributions of the rest; and what Tuckercalled the “constantly emerging phenome-non,” where a critic states that women areonly now beginning to make inroads intothe field of Jazz, but as they progress they willreceive the recognition they deserve. Tuckerhas found this remark in every decade of Jazzhistory, from the 1920s to the present.

A lively discussion followed the panelists’presentations, including reminiscences fromaudience members on their witnessing vari-ous jazz performers and recalling the atten-tion to projecting idealized images of mas-culinity or femininity. Many of the conver-sations that arose in the session were contin-ued over the next few days, making the ses-sion a great success in generating theexchange of ideas.

—Liane Curtis

Report of the Folk/Traditional MusicInterest Group

With a lusty roar like a mountain water-fall, the tumbling strains of “What wondrouslove is this…” resonated throughout the JohnJacob Niles Center for American MusicGallery during the annual Sacred HarpSinging. Leaving the corporate confines ofthe Radisson Hotel, Society for AmericanMusic conference participants traveled to theUniversity of Kentucky campus to join withlocal members of the AppalachianAssociation of Sacred Harp Singers in a spirit-ed singing sponsored by the Folk/TraditionalMusic Interest Group. Bathed in the warm,woody acoustics of the Niles Gallery, skilledand novice singers alike enjoyed the cama-raderie and opportunity to share in the har-mony of fasola singing. The national con-stituency of our Society was democraticallyrevealed in the different repertoire and lead-ing styles represented in the singing.



The Folk/Traditional music InterestGroup was also delighted to help sponsor aremarkable panel “Country Music, BlackVoices” assembled and moderated byUniversity of Kentucky student AngelaHammond. This innovative panel broughttogether musicians such as “Big” AlDowning, Frankie Stanton, and LindaMartell in ground-breaking dialogue.Angela’s report follows.

Country Music, Black VoicesBlack Americans have been excluded

from the country music narrative despite along history of participation in aspects ofcreation, performance and production inthis genre. Indeed, the country music indus-try continues to relegate them to invisibleroles by using them as studio musicians,songwriters and production personnel with-out showing their faces in the videos or attelevised awards ceremonies. Despite thefact that black Americans have played anintegral role in the formation of the countrymusic genre and have lived the geographical,cultural and social realities, which define it,the industry continues to maintain thatthere is no market for the black artist.

Recently, members of the Society forAmerican Music in attendance at our nation-al conference were afforded the opportunityto listen to the true voices of authority on theblack experience in country music, those whohave lived it. Frankie Staton, singer, song-writer and founder of the Black CountryMusic Association; Big Al Downing, rock-a-billy legend and country music artist; andDwight Quik, singer and songwriter broughta combined experience of over one hundredyears to the panel discussion titled, “CountryMusic, Black Voices.” After a brief commen-tary on the historical presence of blackAmericans and country music, the discussionfocused on the personal experiences of thepanelists and the challenges faced by artists indealing with a racist industry. One solutionposed by the panelists is to create an urban orblack Country genre with backing by blackentertainment executives. The session closedwith a short performance by each panelist.Big Al Downing performed his top ten coun-try hit, “Mr. Jones.” Dwight Quik per-formed his tune, “Outlaw,” and FrankieStaton sang a song she wrote, “I Forgot WhatLove Was Like.” Most importantly, what wasconveyed was a love of the music, an admoni-tion to challenge the stance of the countrymusic industry and to consider the way in

which we write history and teach it to ourstudents.

On behalf of the Society for AmericanMusic I would like to express our deepestappreciation to Frankie Staton, Big AlDowning and Dwight Quik for their partic-ipation in the Twenty-Eighth AnnualConference of the Society for AmericanMusic.

—Angela Hammond, University of Kentucky

Report of the Student Interest GroupThe student interest group sponsored a

session entitled “Re-imagining a Career inMusicology.” Our panelists included SusanKey, Gayle Sherwood, and MarianaWhitmer. We also organized a dinner withall interested students and about 30 studentsshowed up for a fun time! The studentshelped Dianna Eiland with the StudentAuction, which took in a record number ofdonations and made record profits for theStudent Travel fund. Roughly 40-50 stu-dents attended the conference. Of these,nearly 20 presented papers and 13 studentsreceived travel funding from the Society.

—Felicia Miyakawa and Maria Cizmic

Early American Music Interest GroupThe Society’s Early American Music

Interest Group held an informal roundtablemeeting at the Lexington conference, aboutten of us sharing ideas and reports of varioussorts. Kate Keller outlined some current usesof PACAN (Performing Arts in ColonialAmerican Newspapers, a CD-Rom databaseof incredible utility to cultural studies), andsome discussion centered on several curiousimages of period music and music-makingwhich were circulated. There was a generalcall for more performances of earlyAmerican music at SAM meetings. It wasquite promising to hear the amount of dis-

cussion in anticipation of the Society’s nextmeeting, in Arizona, and the potential fordrawing upon early Spanish-influencedmusic in the New World (somehow weended up considering how religious music,as an umbrella topic, might constitute a ses-sion on comparing Spanish, English, andNative American practice). Please feel free tocommunicate ideas or suggestions related tothis or other topics to Group Chair DavidHildebrand at: [email protected]

—David Hildebrand

Summary of the AnnualBusiness Meeting

The 2002 business meeting of theSociety for American Music was called toorder by President Paul Wells at 4:50 p.m.on Saturday, 9 March 2002 at the RadissonPlaza Hotel in Lexington, Kentucky.Welcome remarks were made by DeanRobert Shay (University of KentuckyCollege of Fine Arts), who credited SAMLocal Arrangements Chair (and facultymember) Ron Pen, for a magnificent orga-nizational job. Dean Shay noted the illogicof welcoming conferees just prior to depar-ture, but warmly welcomed attendees never-theless. A second after-the-fact welcome wasextended by Prof. Harry Clarke (Director,University of Kentucky School of Music),who extended greetings from the School ofMusic and who acknowledged the impor-tant role of the Society for American Musicin making credible the study of Americanmusic.

A summary of the 2001 Annual Businessmeeting in Trinidad (copies of the accountpublished in the Summer 2001 Bulletin) wasaccepted with a single correction (the nameof the recipient of the Lowens Article Awardfor 1998 was Carol A. Hess).

In his presidential remarks, Paul Wellssummarized some of the recent changes inthe Society, noted his pleasure at seeing manyunfamiliar faces in Lexington, and remarkedon the scholarly dynamism and energy inevidence at the conference. He also reiterat-ed his goal of presiding over growth in theSociety. Wells then summarized the recentchanges in the Bulletin. The general sense ofthe Board and the Publications Council wasthat there was too much overlap between theBulletin and the Journal and that the Societycould not sustain both. The Board reaf-firmed its belief in the necessity of maintain-ing the information-disseminating (commu-nications) function of the Bulletin; other fea-


Susan Cook, Program Chair for the LexingtonConference (standing, far right) poses with therecipients of the Student Travel Awards, as well asFelicia Miyakawa and Maria Cizmic, co-chairs ofthe Student Interest Group.


tures that have been added will be carefullyassessed. Wells thanked Executive DirectorMariana Whitmer for taking over responsi-bility for assembling and editing copy for theBulletin in fall 2001. Wells also announcedthat the Society’s National Office wouldshortly be taking control of the membershipdatabase; as a result the Society would notrenew its contract with Academic Services.This represents a major step forward for theSociety; it also suggests that the SAM hasreached an important milestone in handlingits own affairs.

A moment of silence was observed formembers who had died during the past year;George Brandon, Norbert Carnovale, JamesM. Chamblee, Robert D. King, and PhyllisDanner were named

Wells noted that the Society’s HonoraryMember Award was being presented to oneof Kentucky’s leading musical citizens,Loretta Lynn, who had intended to be at themeeting (she had been scheduled to beawarded an honorary doctorate from theUniversity of Kentucky that morning), butwho had been taken ill that morning and asa consequence was not able to attend. Wellsthanked Ron Pen for his extensive efforts tobring these events to fruition and extendedhis sincere sympathy that his well-laid planshad been derailed at the last moment. Heread the citation to Ms. Lynn; it will be pre-sented to her at a later date.

Various officers and committee chairspresented reports. A statement of theSociety’s Financial Condition was distrib-uted by Treasurer George Keck, who notedthat despite the country’s economic dol-drums, the Society’s funds are up slightly(because of increased contributions andmemberships). Keck and Whitmer, withthe Board’s permission, had retained a finan-cial consultant with Merrill-Lynch, who hadprovided excellent advice. He noted that theStudent Travel Fund receives more contribu-tions than any other restricted fund. Thereport was accepted without change. TheChair of the Nominating Committee,Deane Root, thanked his committee (RaeLinda Brown, Marc Clague, CatherineParsons Smith, and Kate van Winkle Keller)and all who had agreed to stand for office.He introduced the four newly elected offi-cers of the Society: Board Members-at-LargeJosephine Wright and Denise von Glahn,Secretary R. Allen Lott, and President ElectCarol J. Oja.

Rob Walser, former editor of AmericanMusic, was thanked publicly and presentedwith a plaque for his efforts on behalf of the

journal . Walser mentioned that he had justfinished proofing his last (16th) issue andnoted his pleasure at turning the journal overto the capable hands of David Nicholls. Hethanked past presidents Anne Dhu McLucasand Dale Cockrell for their help as chairs ofthe Publications Council, and noted the sig-nificant amount of support from his homeinstitution, UCLA. He thanked in particu-lar Pauline Yu, Dean of the College ofLetters and Sciences, Humanities Division,of UCLA. Walser also acknowledged theunheralded work by the journal’s editorialboard and his three assistant editors, gradu-ate students Steve Bauer, Glenn Pillsbury,and Charles Garrett. Current editor DavidNicholls noted that the journal is soon to beback on schedule; his first issue will arrive inlate April. He thanked the University ofIllinois Press for what he called an “astonish-ing job of turning things around.” He noteda recent upsurge in submissions—over sixtyin the last twelve months.

Vice President Larry Worster presentedan update on the new Society webpage,which will be up by late spring. The web-page was designed by Francesca Draughon.The site should be informational about boththe Society and about American musicscholarship (via links); eventually membersshould be able to pay dues and register forconference on line.

Wells presented Katherine Preston,Chair of the Program Committee of theToronto 2000 Conference (and SAM liaisonto the Steering Committee for that confer-ence), with a plaque from the Society inthanks for her years of work on that confer-ence. Preston acknowledged the efforts ofher committee members, Tara Browner,John Covach, Joe Horowitz, AnneMcLucas, Guthrie Ramsey, GraysonWagstaff, and (ex officio) Johann Buis. Shealso acknowledged the work of Kitty Keller,who served as the SAM representative on theLocal Arrangements Committee. Wells pre-sented a plaque to Ron Pen, chair of theLocal Arrangements Committee for theLexington conference, in thanks for hiswork on the current conference. Pen pub-licly acknowledged his committee’s closework with the Lexington ProgramCommittee; he thanked PC Chair SusanCook for her collaborative efforts. Wells alsopresented a plaque to Susan Cook, and com-mended her and her committee for a terrificprogram. Karen Bryan, chair of the LocalArrangements Committee for the Tempe,Arizona conference (26 February-2 March2003), invited all attendees to the desert; she

promised that the conference will feature ablend of Native American and Hispanic cul-tures. Catherine Parsons Smith wasannounced as the chair of the ProgramCommittee. The call for proposals will be inthe next Bulletin. Kay Norton, chair of theConference Site Selection Committee,announced that in 2004 the Society willmeet jointly with the Association ofRecorded Sound Collections in Cleveland,Ohio. Case Western Reserve University willbe our host. She invited further ideas, sug-gestions, and invitations for the sites offuture meetings.

Denise von Glahn, Chair of thePublications Subvention Award Committee,presented this award to R. Allen Lott for hisbook Grand Tours: Five European PianoVirtuosos in the New World, to be publishedby Oxford University Press. Anne DhuMcLucas, standing in for Cyrilla Barr (chairof the committee), presented the WileyHousewright Dissertation Award to SandraJ. Graham for her dissertation “The FiskJubilee Singers and the Concert Spiritual:The Beginning of an American Tradition,”completed in 2000 at New York University.Graham thanked the Society, the commit-tee, and her mentors Victor Yellin and JohnGraziano. John Koegel, chair of the 2001Irving Lowens (Article) Award, presentedthe award to John Graziano for “The EarlyLife and Career of the Black Patti: TheOdyssey of an African-American Singer inthe Late Nineteenth Century,” published inthe Journal of the American MusicologicalSociety, 53/3. Edward Berlin, chair of the2000 Irving Lowens (Book) Award, notedthat committee members had read twenty-eight books before arriving at its unanimouschoice of Carol J. Oja’s Making MusicModern: New York in the 1920s (OxfordUniversity Press). Oja thanked her editors atthe Press and also noted her gratitude for thesupportive intellectual environment provid-ed by the Society. David Nicholls, forCommittee Chair Nym Cooke, noted hishonor and great sadness to present the firstMark Tucker Award for the best studentconference paper. The award went toCharles Garrett for “Louis Armstrong andthe Sound of Migration.” Garrett thankedboth his mentors at UCLA and the Societyfor support; he noted that as a Masters’ stu-dent at Columbia University he had studiedwith Mark Tucker, who inspired him tothink about musicology as a career. Finally,Paul Wells read a statement written byDeane Root extolling the many achieve-



ments of Charles Hamm, the 2002 recipientof the Society’s Lifetime AchievementAward. Prof. Hamm could not be present,so the award was accepted by Stephen Swainof Dartmouth, on his behalf.

Bob Keller asked—in the context oflaunching our new webpage—that theSociety recognize the both the importantwork of Cheryl Taranto (on our previouswebpage) and the contributions made by theUniversity of Nevada, which served as thesite for the webpage. Allen Lott and DiannaEiland performed a skit on behalf of theSilent Auction, the deadline for which wasfast approaching.

Wells announced newly appointed andcontinuing committee chairs, includingMary Dupree (Interest Group Council),Judy McCulloh (COPAM), Kay Norton(Site Selection Committee), Wilma Cipolla(Lowens Book Award, 2002), Paul Laird(Lowens Article Award, 2002), Vivian Perlis(Housewright Dissertation Committee2002), and Dianna Eiland (Silent Auction).

Wells recognized retiring Board mem-bers Emily Good and Marva Carter. Finally,he presented—on behalf of the Society—ahandsome engraved desk set to KatherinePreston, retiring as Secretary after two termsin office. Preston thanked Society membersfor entrusting her with the task and publi-cally acknowledged the significant contribu-tions of the College of William & Mary tothe Society for American Music, noting thatsince the mid 1980s an unbroken successionof faculty members from that universityhave enjoyed unstinting institutional sup-port as SAM officers and Board members.

The meeting was adjourned by acclama-tion at 5:38 p.m.

Treasurer’s Report -Calendar Year 2001George Keck, treasurer9 February 2002

The Society for American Music contin-ues to be in good financial condition. Thetotal balance of all accounts is up slightlyfrom last year. Although interest and divi-dends declined, account balances remainsteady as membership renewals and contri-butions are consistent with previous years.The best news is that income exceededexpenses by $8,408.98.

1995 . . . . . . . . . . . . . . . . . . .$240,018.371996 . . . . . . . . . . . . . . . . . . .$258,208.321997 . . . . . . . . . . . . . . . . . . .$261,777.971998 . . . . . . . . . . . . . . . . . . .$276,629.581999 . . . . . . . . . . . . . . . . . . .$272,878.192000 . . . . . . . . . . . . . . . . . . .$293,859.732001 . . . . . . . . . . . . . . . . . . .$295,062.99

The following contains more detailedinformation about the Society’s financesduring 2001.1. Statement of Financial Condition (to be

distributed to the membership at theBusiness Meeting)

2. Restricted Funds summary


STATEMENT OF FINANCIAL CONDITIONSociety for American Music

Year Ending 31 December 2001

GENERAL FUNDINCOME

Dues . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .$51,785.00Interest/Dividends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $6,150.63Conference proceeds, 2000 and 2001 (Toronto and Trinidad) . . . . . . . . . . . . . . . . .$8,589.51Other Income:

Contributions (unrestricted) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .$1,659.00Sale of Mailing List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $1,500.00Postage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .$119.00Royalties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .$10.39Tucker Memorial . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .$325.00Other Income

TOTAL INCOME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .$70,138.53

EXPENSESI. PROGRAM

American Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .$35,095.49Bulletin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .$1,704.00Directory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .$2,294.34Outreach, Honors, and Awards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .$893.70RILM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .$448.23TOTAL PROGRAM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .$40,435.76

II. MANAGEMENTBoard expenses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .$2,732.22Executive Director honoraria . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .$10,000.00Office expenses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .$2,743.67Management services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .$4,731.03ACLS Membership . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .$440.00Fees (Merrill Lynch, Citizen’s Bank, DC Incorporation) . . . . . . . . . . . . . . . . . . . . . . .$646.87TOTAL MANAGEMENT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .$21,293.79TOTAL EXPENSES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .$61,729.55

INCOME MINUS EXPENSES: $8,408.98

RESTRICTED FUND SUMMARYLife Membership . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .$24,261.41Lowens Memorial . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $18,468.19Non-Print Publications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $20,704.82H. Earle Johnson Fund . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .$114,901.00Housewright Dissertation Endowment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $13,357.56Student Travel Endowment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .$13,421.22

TOTAL FOR RESTRICTED FUNDS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .$205,114.20

ACCOUNT BALANCES

Merrill-Lynch Operating Account . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .$129,774.95Endowment Accounts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .$137,712.00Citizen’s Bank . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .$10,136.99

TOTAL ACCOUNT BALANCES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .$295,062.99


The 2002 SAM Silent Auction was anoverwhelming success. The Auctionreceived more donations this year than anyprevious year giving visitors to the auctiona plethora of choices. This year’s SilentAuction grossed over $4,000.00. That isDOUBLE the amount the auction nor-mally earns for the Student Travel Fund.We send out a special thanks to all whodonated items to the Auction and to thosethat took part in the spirited bidding.

We also send a special thanks to Boband Kitty Keller who made two trips toWest Virginia to pick up the BillLichenwanger book collection, donated byhis widow, for the Auction. We would alsolike to thank Kitty Keller and DavidHildebrand for spending their time clean-ing and sorting those books in preparationfor this year’s Auction. We also owe a BIGthanks to Allen Lott for his help with the“advertisement” during the membership

meeting. The Auction often receives abook donation from an exhibiting pub-lisher, but this year W.W. Norton donatedits entire table of books to the Auction.This year the following Society membershelped with the Silent Auction: Bob Keller,Kitty Keller, Mariana Whitmer, MariaCizmic and Felicia Miyakawa (studentcommittee co-chairs), Ann Sears, AllenLott, Renee Camus, Linda Pohly, HomerRudolf, Carolyn Bryant, and DavidHildebrand. Each student receiving a trav-el grant from SAM worked the Auctionduring the conference, helping to watchthe tables and then sorting the books afterthe close of the Auction. We would alsolike to thank the Brass Band for providingmusic for the closing of the Auction.

We are excited about the prospects forthe 2003 Silent Auction for which we havealready received over five boxes of bookdonations. But, we still need your help!

Please start collecting yourdonations of books, CDs,music, sheet music, photos,recordings, etc… today fornext year’s Silent Auction.Remember the revenuegoes to the Student TravelFund and is used to helpstudents travel to SAMconferences.If you have any questionsabout the Silent Auctionplease contact DiannaEiland, chairperson, [email protected] or703-765-8660.

The Society for American Music 2002 Silent Auction

The Society for AmericanMusic is pleased to welcome the followingnew members:Regular MembersJudith Gray (Washington, DC)Eleanor F. Anderson (Woodbury, CT)Toni P. Anderson (LaGrange, GA)Nancy McKenney (Lexington, KY)Margaret L. Ulmer (Charlestown, MA)Paul M. Wright (Boston, MA)Kirstin Wendlend (Atlanta, GA)Barbara Cressman (St. Joseph, IL)Deborah Loftis Schoenfeld (Richmond, VA)David Neumeyer (Austin, TX)Michael Arndt (Phoenix, AZ)Roberta Freund Schwartz (Lawrence, KS)Kevin Lawrence (Winston Salem, NC)William P. Pfaff (Sandown, NH)Elinor L. Duff (San Antonio TX)Hilde Binford (Bethlehem, PA)Naomi Andre (Ann Arbor, MI)Michael Biel (Morehead, KY)Bernard Gendron (Milwaukee WI)Nadine Hubbs (Ann Arbor, MI)Elizabeth Keathley (Knoxville, TN)Marcello Piras (Ann Arbor, MI)Emmett G. Price, III (Alexandra, VA)Laura Pruett (Tallahassee, FL)Jim Davis (Fredonia, NY)Robert C. Haskins (Rochester, NY)Bill C. Malone (Madison, WI)Geoffrey Dean (Sofia, Bulgaria)Michael Campbell (Macomb, IL)Michael G. Garber (S. Salem, NY)

Student MembersLoren Zawodny (Dallas, TX)Mark Y. Miyake (Chicago, IL)Julia Chybowski (Madison, WI)Jonathan Pieslak (Wilmington, DE)Jeremy Grimshaw (Pittsford, NY)Clemens Gresser (England)Damaris Unverzagt (Lexington, KY)Katie Lundeen (Bloomington, IN)Andrew Berish (Los Angeles, CA)Gigi Rabe (Los Angeles, CA)Alisa Rata (Bloomington, IN)Eric Strother (Lexington, KY)Jacqueline Warwick (Los Angeles, CA)Matthew D. Altizer (Austin, TX)Shana Goldin (Charlottesville, VA)Kate Brucher (Ann Arbor, MI)Christopher Bruhn (Brooklyn NY)Jessica Courtier (Madison, WI)Dennis Davis (Lexington, KY)Olivia Carter Mather (Santa Monica, CA)Matt Meacham (Chapel Hill, NC)Jonathan Geenberg (Los Angeles, CA)Nathan Platte (Ann Arbor, MI)Kenneth Prouty (Monroeville, PA)

Institutional MembersConnecticut College

ReminderProposals for the upcoming Tempe Conference are due

20 August 2002.Read on for details!


Society for American Music 2003 Annual Conference Tempe, Arizona

26 February–2 March 2003 the Societyfor American Music will hold its twenty-ninth national conference in Tempe,Arizona, hosted by Arizona State University.Information regarding the conference [pro-gram, registration, etc.] will be available on the website [http://www.american-music.org] around the first of the year.

CALL FOR PRESENTATIONS,PAPERS, AND PERFORMANCES

Seeking to present a stimulating meetingthat reflects the rich variety of committeewelcomes proposals for papers, sessions, andperformances involving any aspect of musicin Canada, the United States, and theAmericas. Although all topics will be consid-ered, the program committee especiallyencourages submissions in these categories:• Submissions that deal with the diverse his-

torical and contemporary musical tradi-tions and cultures of the Southwest.

• Submissions that address American music,broadly defined, in an interdisciplinarycontext, and in all the formats, locationsand genres in which it occurs.

• Submissions in alternative formats such aspanels, roundtables, position papers withrespondents, workshops, mixed perfor-mance / discussion sessions, and completesessions involving particular themes orissues.

General Guidelines. Individual or jointpapers should be no longer than twentyminutes. Performances should be no longerthan thirty minutes and may include a shortlecture component. Presenters do not needto be members of the Society, but arerequired to register for the entire conference.Performances are not remunerated. Thecommittee encourages proposals from per-sons who did not present at the 2001 meet-ing in Lexington, but all proposals will beconsidered and judged primarily on merit.

How to submit. Submissions mustinclude six copies of the proposal (500words maximum) and an abstract suitablefor publication in the conference program(100 words maximum). One copy of theproposal should include name(s),address(es), phone number(s), emailaddress(es), and a list of audio-visual require-

ments. The Local Arrangements Committeeexpects to provide CD, audiocassette play-ers, overhead projectors, and (with morelimited availability), videotape playback andslide projectors. Sessions will be scheduledwith stated audio-visual requirements inmind. Submitters are warned that last-minute requests often cannot be accommo-dated. Successful submitters will be expectedto provide a revised, electronic version viaemail (in Rich Text Format) of the 100-wordabstract for publication in the conferenceprogram, before December 10. Proposals forperformances without a lecture componentneed only include a 100-word abstract; allperformance proposals must include sixcopies of an audiocassette tape or CD. Tapesand CDs will not be returned.

For complete sessions or proposals

involving unusual formats, the proposershould include an additional statementexplaining the format and the rational forthe session. Individual papers or perfor-mances in such sessions should follow theguidelines for individual submission, but allshould be included in one envelope.

Please include two self-addressedstamped envelopes. In the absence of suchenvelopes, submissions will not be acknowl-edged upon receipt, and acceptance and/orrejection will be via email.

All materials must be postmarked on orbefore 20 August 2002, and should be sent to:

Catherine Parsons SmithSAM Program Chair,Department of Music 226University of Nevada RenoReno, NV 89557-0049

CO N F E R E N C E AN N O U N C E M E N TS

Cage 2002–Cage 90/10University of Southampton, UKSaturday, 21 September 2002

1025 Welcome and key note by EC = JC2: John Cage as Exemplary Creator.David Nicholls

1100 Rob Haskins “Beating My Head Against That Wall”:Cage, Harmony, and an Argument for Analysis

1130 tea1145 Nicolas Hodges Performance issues in One, One2 and One51215 Heather Gardener (voice), Performance of Mirakus2 (1984)

Rob Haskins (piano) and Sonnekus2 (1985)1245 lunch1345 Michael Finnissy, round table discussion

Nicolas Hodges,David Nicholls,Danae Stefanou (chair)

1500 Changing location 1505 Payton MacDonald (perc.); Concert:

Tim Ovens (piano) 27’10.554” for a Percussionist (1956).piano music of John Cage

1605 tea 1620 Marc Thorman “Politics as Usual or Anarchy?: Compositional

Approaches in Two Mixed Media Works withMultiple Speaking Voices by John Cage”

1650 Tim Ovens The Sound Collector—The Prepared Piano of JohnCage. A multimedia lecture-recital (30 minutes)

1730 Martin Dixon John Cage, Ideology and Technology 1800 Dinner / snack 1830 Everybody Musicircus

For more information (abstracts, directions, etc.) please go tohttp://www.soton.ac.uk/~cgresser/cage/ or e-mail Clemens Gresser, [email protected].

There will be no conference fee and no registration is required.


Conference on Popular Music andAmerican Culture

The School of Music at the University ofTexas at Austin will host a conference onpopular music and American culture 21-23 November 2002. Submissions areinvited from scholars working in the fields ofmusicology/music theory, cultural studies,American studies, film, history, soundrecording/reproduction, etc. Keynote speak-ers will include Adam Krims (Director ofInstitute for Popular Music and AssociateProfessor of Music, University of Alberta)and Fred Maus (Associate Professor ofMusic, University of Virginia).

Presentations dealing with any aspect ofpopular music are welcome and should beaccessible to a multidisciplinary audience.

Prospective topics include but shouldnot be limited to:• interpreting popular music• histories of popular music• film music• jazz• musicals• music and the culture industry• music and sound recording/reproduction

technologiesThe program committee is especially

interested in papers theorizing about local

music scenes, particularly those in Austin.Graduate students, independent scholars,and industry and sound technology profes-sionals (especially Austin-based) are stronglyencouraged to submit proposals.

The deadline for 200-400 word abstractswill be 1 July 2002. Please submit abstractsvia email to James Buhler ([email protected]). Requests for further informa-tion about the conference and/or an updat-ed call for papers may also be sent to thisaddress.

Members in the Newshank you to the many

generous members ofSAM who have donated

funds.

$100 and over

Clayton Henderson

Kate Keller

Anne Dhu McLucas

Melva Peterson

Ray Reeder

Deane Root

Paul Wells

Marva Griffin Carter

Richard Crawford

$200 and over

Judith Tick

Margery Lowens

$300 and over

Paul Charosh

In addition, we have had a substan-tial gift from an anonymous donor in theamount of $2,500 in support of theStudent Travel Endowment Fund.Thank you!

Congratulations to Emmett G. Price III(Ph.D., University of Pittsburgh, 2000) whohas accepted the position of AssistantProfessor of Music and African AmericanStudies at Northeastern University afterspending the past year in a visiting capacity.Emmett spent the previous year as a post-doctoral fellow at Washington University inSt. Louis.

Ellie M. Hisama (Brooklyn College andthe Graduate Center, CUNY) receivedfaculty fellowships for 2002-03 from theWoodrow Wilson National FellowshipFoundation and the Ethyle R. WolfeInstitute for the Humanities to work onher book, Popular Music and the Politics ofSound.

Rob Haskins served as co-producer for anew recording of Steve Reich’s Music forLarge Ensemble by the ensembles AlarmWill Sound and Ossia on the Nonesuchlabel. In February he received the DenaEpstein Award for Archival and LibraryResearch in American Music awarded byMusic Library Association, which enabledhim to travel to important John Cagearchives at Northwestern University and theNew York Public Library. In April, he gave apaper “Toward a Critical Description ofJohn Cage’s for the meeting of St. LawrenceAMS Chapter Meeting at SUNY Geneseo;it was awarded the prize for best studentpaper. His article, “Philip Glass and MichaelRiesman: Two Interviews” was accepted forpublication in Musical Quarterly. He willgive another paper, “‘Beating My HeadAgainst That Wall’: Cage, Harmony, and anArgument for Analysis” for “Cage 90/10”:Cage Study Day at the University ofSouthampton, United Kingdom. Rob Has

been awarded the Raymond N. BallDissertation Year Fellowship, University ofRochester for next year for his dissertation inprogress, “‘An Anarchic Society of Sounds’:the Number Pieces of John Cage.”

Jean Snyder writes to let us know thatthere is now an official website for theBurleigh Society in Erie, Pannsylvania[http://www.burleighsociety.org]. She con-tinues: “It is very basic at the moment, butwe’ll be adding material bit by bit to makethis the most extensive, easily availablesource for information about Burleigh. Localhistorian Karen James has posted a BurleighFamily Timeline that gives a great deal ofnew information about Burleigh’s familyfrom the time his grandfather HamiltonWaters purchased his freedom in SomersetCounty, Maryland, in the 1830s. Karen hasdone a phenomenal job of digging out infor-mation about the 19th-century black com-munity in Erie. I’ll be posting informationabout Burleigh’s career as a singer/recitalist,voice teacher and coach, art song composer,arranger and music editor. I’ve just submit-ted an initial timeline that goes from the firstpublished accounts of his singing (1889,more than ten years earlier than we’ve knownbefore) and goes to 1905. You’ll find somefascinating new information. So keep an eyeon this site, and let us know if you have sug-gestions or information to add.”

Susan C. Cook has been awarded theWalt Whitman Chair in the Netherlands aspart of the Fulbright Senior DistinguishedLecturer Program. She will be teaching aspart of the American Studies program at theCatholic University of Nijmegen duringspring 2003 as well as lecturing at other uni-versities throughout the Netherlands.

T


Letter from FloridaAs a new student member of the Society

for American Music, the Lexington confer-ence was my first chance to experience theorganization. My husband, David, hadattended the Trinidad meeting in summer2001 and returned to Tallahassee burstingwith excitement. Since I, too, am a fledglingAmericanist, I decided to accompany him toLexington both to support his paper and tosee this society firsthand. I am certainly gladI did. When we arrived at the conference onThursday afternoon (a bit too late to seesome of my FSU colleagues and professorsread papers, unfortunately), we immediatelydropped off our bags and hit the sessions.Not only were the papers fascinating, butthe subject matter was close to my ownresearch interests and I took many notes forfurther investigation.

On Friday night the Student InterestGroup held a dinner for student members ofSAM, and I was finally able to sit and talkwith some other young Americanist scholarswhose enthusiasm for their own topics wasonly matched by their curiosity in mine. Wetalked long into the night over drinks and agame of badly-played pool. I am happy tosay that I maintain contact with a number ofthese scholars and hope someday to countthem among my colleagues.

The conference culminated with theSaturday night silent auction close, dinner,and square dance. Needless to say, I wasmore than excited at the opportunity todance with such scholars as Paul Wells,Stuart Feder, and even Mike Seeger, whostopped in the next day to hear David’spaper. I met many scholars whose work Ihave read and admired for years, and againhope to maintain these contacts when I ven-ture into the working world of academia.

The experience I had at the Lexingtonconference can be summed up in one word:welcoming. From the first moments at theregistration desk to the gracious disputes atthe silent auction, I always felt as if Ibelonged among this group of people. TheSociety for American Music values its mem-bers and gave me an especially warm recep-tion. I know that I will continue to be amember and attend as many conferences aspossible for many years. Thank you for yourhospitality to a new student member.

Laura Moore PruettPh.D. Student, Historical MusicologyFlorida State UniversityTallahassee, [email protected]

CO M M U N I C AT I O N S

On “Raynor” vs. “Rayner”Taylor

I am surprised The New GroveDictionary of Music and Musicians, rev. ed.(2001) has the entry with the title “Taylor,Raynor [Rayner].” I thought it was well-established that his first name was “Rayner.”Some points:1. I may have been the first one in modern

times to point out “Rayner”—a musico-logical discovery of no small impor-tance—and reported this in the SonneckSociety Newsletter, fall 1981, and in mybook The Dawning of AmericanKeyboard Music (1988).

2. Victor Fell Yellin used this spelling in hisarticle “Rayner Taylor,” American Music 1,no. 3 (fall 1983). Yellin’s completeaccount explains that “Rayner” had beenused up to 1884, “Raynor” not appearingin print until 1895.

3. Yellin’s article “Rayner Taylor’s Music forThe AEthiop,” American Music 5, no. 1(spring 1987), also uses the correctspelling.

4. Yellin wrote the article in The New GroveDictionary of American Music (1986),titled “Taylor, Rayner [Raynor].”

5. John Metz and Barbara Bailey-Metz’s edi-tion of Taylor’s chamber music for RecentResearches in American Music (A-REditions, 2001), uses “Rayner.”

6. Not only does the revised New Grove putthe erroneous spelling first, but also incor-rectly respells the first name in the citationof the titles of Yellin’s two articles.

New Grove editors, please note.

Bunker Clarkemeritus, University of Kansas; editor,Harmonie Park Press

To the Editor:I am presently conducting research on

the American composer Jerome Moross(1913-1983), best known for his balletFrankie and Johnny, the musical The GoldenApple (including the famous song “LazyAfternoon”) and scores to such films as TheBig Country and The Cardinal. I would begrateful for any information your readersmight contribute in the form of scores,recordings, concert programs, letters, inter-views, recollections and remembrances, etc.

Please contact:Charles TurnerThe Hartt School, University of Hartford200 Bloomfield AvenueWest Hartford CT 06117Phone: 860.768.4121Email: [email protected]

From the Executive Director

The first quarter of 2002 has certainlybeen a busy and important time for theSociety. First, we launched our re-designedand improved website. If you haven’t hadthe opportunity to check out the sleek newdesign, please do so. We’re still at www.american-music.org. I’m sure you’ll bepleased with the results of the hard work ofFrancesca Draughon, who designed the site,and the Website Committee, capablychaired by Larry Worster. Ongoing plans forthe site include Interest Group webpages,expanded resource links, and online mem-bership and renewal services. Stay tuned.

We have also severed our relationshipwith Academic Services, our membershipservices provider. As of May 1st all activitiesassociated with subscriptions, renewals, andmembership requests (including mailing listrentals), are now the responsibility of theSociety’s national office in Pittsburgh. Wewill miss Jim Henderson’s capable adminis-tration, however, having the database withineasy reach will give us the opportunity tobetter understand our membership anddevise more creative ways of serving you.

Finally, I am happy to announce that the2002 Directory will be in the mail shortly.Many thanks to Kitty and Robert Keller fortheir dedicated and hard work on thisimportant publication. How would wecommunicate without it? Look for it soon.

Baptist Offering, Southern Midwife—Jesse Mercer’s Cluster of Spiritual Songs(1810): A study in American Hymnody. KayNorton (Warren, MI: Harmonie Park Press,2002).

Jesse Mercer (1769-1841) can bedescribed as a pastor hymnist, or as KayNorton speaks of him—a “hopeful hym-nist.” He seems to have been somewhat ofan enigma—a southerner with Yankee char-acteristics and a Calvinist with ecumenicaltendencies. His editorial efforts neverflagged and his ingenuity grew as hearranged and re-arranged strands ofGeorgia’s history and culture into successiveeditions of The Cluster. This collection, longknown to be swirling in the outer regions ofthe hymnic world has been brought intofocus now through Kay Norton’s research.Through her work one of the earliestAmerican compilations is proven to be not acluster but a complete galaxy related tomany hymnic phenomena already explored.

Norton traces many of the influences onMercer’s work—campmeeting songs, folktunes, the Wesleys and Moravians,Whitefield, Countess of Huntingdon,Newton, Rippon, Caleb Taylor and JohnGranade. Suddenly, what had long beenseen dimly in the distance she has broughtinto full view. She has systematically mea-sured it, analyzed its components andhelped us focus on it in such a way that itshines surprisingly clearer and brighter for allof us. The way she has organized the mate-rials leads the reader to unexpected intersec-tions between North and South, Georgiaand the deep South, England and America,Baptists and non-Baptists, establishmentand the marginalized. She writes lyrically ofSouthern hymn tunes, her “mother tongue,”and the book is informative as it is enter-taining, as warm as it is academic. Nortontraces Mercer’s continual adaptations of hismaterials to appeal to the changing needsand expectations of his congregations.Because Mercer worked within a “fluid

musical environment” (xxi) Norton has hadto set solid criteria of tune types, regionalpreferences, oral tradition, Baptist history,and performance practices by which shemakes a case for each tune she selects “mostlikely sung by Mercer’s congregations.” Sheventures into unexplored areas of sacredmusical practice of Georgia’s eighteenth cen-tury. Using maps, tables, examples, andindices she proves her point that Mercer pre-pared the field for the shape-note phenome-non and the Southern folk hymnody ofWyeth and Ananias Davisson’s collectionsthat followed. This book, as its subject, is forhymnody a star of the first magnitude.

—Mary Louise VanDyke, Coordinator,Dictionary of American Hymnology,

Oberlin College Library


BO O K REV I EW

GR A N TS A N D AWA R D S

ARSC Awards 2003Nominations are currently open for the

2003 ARSC Awards for Excellence inHistorical Recorded Sound Research.Eligible publications include any printedworkbook, monograph, article, liner notesfirst published during 2002. The work maybe on any subject related to recorded soundincluding histories, discographies, technolo-gy (such as modern techniques for thepreservation or reproduction of olderrecordings), and recording artist biographiesin any field of music or genre (classical, pop-ular, rock, jazz, country, folk, spoken word,labels, phonographs, etc.). The work shoulddeal primarily with historical periods,defined as at least ten years prior to publica-tion (e.g., pre-1991), with the exception ofworks related to preservation and technolo-gy. In addition, a Lifetime AchievementAward will be presented to an individual inrecognition of his or her life’s work in pub-lished recorded sound research. The dead-line for nominations is 31 January 2003.

The Awards Committee especially welcomesinformation concerning eligible foreign andsmall press publications that might other-wise be overlooked. Publishers should sub-mit one copy of each eligible publication;others may forward the author, title, pub-lisher, and publisher’s address for each nom-inee to:

Vincent Pelote, ARSC Awards Co-ChairInstitute of Jazz StudiesRutgers State University of NJNewark, NJ [email protected]

NEH Summer StipendsThe NEH Summer Stipends program

supports two months of full-time researchon a project in the humanities. The award is$5,000 for two months of full-time com-mitment to research and writing. Thisnationwide competition has an 1 October2002 deadline. Last fall 751 applicationswere received and 117 awards conferred.

Regular faculty members of colleges anduniversities must be nominated by theirinstitutions, and each institution may nom-inate a maximum of two applicants.Independent scholars and adjunct or part-time faculty may apply for these grants with-out nomination. The list of awards for thesummer of 2002 is available on the website,giving project titles, names, and institution-al affiliations of successful applicants. Thisyear, for the first time, applications forSummer Stipends will be submitted elec-tronically through the NEH website.Individuals who are interested in obtainingaccess to the guidelines and applicationinstructions are invited to visit the NEHwebsite at http://www.neh.gov/grants/guidelines/stipends.html

Questions about the program can besent via e-mail to <[email protected]> or viatelephone: (202) 606-8200.


Kluge Fellowship CompetitionThe Library of Congress invites qualified

scholars to conduct research in the John W.Kluge Center using the Library’s collectionsand resources for tenure periods of sixmonths to one year. The Center especiallyencourages humanistic and social scienceresearch. Interdisciplinary, cross-cultural, ormultilingual research is particularly wel-come.

Eligibility: Scholars who have received aterminal advanced degree within the pastseven years in the humanities, social sciencesor in a professional field such as architectureor law are eligible. Exceptions may be madefor individuals without continuous academ-ic careers. Applicants may be U.S. citizens orforeign nationals.

Tenure and Stipend. Fellowships may beheld for periods from six to twelve months ata stipend of $3500 per month. Constraintsof space and the desirability of accommo-dating the maximum number of Fellowsmay lead to an offer of fewer months thanoriginally requested. Fellows may begintenure at any time during the fourteen-month window between June 1 of the yearin which the Fellowship is awarded andAugust of the year following, providingspace is available. Stipends will be paidmonthly, usually by electronic transfer to abank account.

Applications: All applications must bewritten in English. The application mustinclude a research proposal (no longer thanthree single-spaced pages), a two-page cur-riculum vita which should indicate majorprior scholarship, an indication of the col-lections at the Library of Congress that willbe used for research and two letters of refer-ence (in English) from individuals whoknow the quality of the applicant’s scholar-ship. The application form and referenceform may be printed from the website:http://www.loc.gov/kluge

Deadline: Applications (including ninecollated copies) must be received at theOffice of Scholarly Programs, Library ofCongress, by 15 August 2002.

Awards: Up to twelve Kluge Fellowshipswill be awarded annually by the Library ofCongress. Awards will be announced nolater than March 15 of the year followingthat in which the application is due.

For further information contact TheJohn W. Kluge Center, Office of ScholarlyPrograms, Library of Congress, LJ120, 101Independence Avenue, SE, Washington,DC 20540-4860phone: 202-707-3302; fax: 202-707-3595.email: [email protected]. web: http://www.loc.gov.kluge

ACLS Fellowship and GrantCompetitions

The ACLS is pleased to announce theopening of the 2002-2003 competition yearfor fellowships and grants. Updated infor-mation has now been posted for all ACLSprograms. The central ACLS Fellowships,enhanced and reinvigorated, are beingoffered for tenure beginning in 2003-2004.Maximum stipends are $50,000 for FullProfessors and career equivalent, $40,000for Associate Professors and equivalent, and$30,000 for Assistant Professors and equiva-lent. This program requires the Ph.D. con-ferred by October 1, 2002 and the last sup-ported research leave concluded by July 1,2000.

The ACLS/Andrew W. Mel lonFoundation Fellowships for Junior Facultyare also included in the ACLS FellowshipProgram. In response to increasingly rigor-ous expectations for tenure, funding will beavailable for an additional 22 fellowships forAssistant Professors or the equivalent with atleast 2 years’ teaching experience. Applicantsto the ACLS Fellowship Program who meetthis criterion, and who satisfy all the require-ments and provisions for the ACLSFellowships, will be automatically consid-ered for these junior faculty awards.

Also offered through the ACLSFellowship Program are the jointACLS/New York Public LibraryFellowships. This cooperative program pro-vides residential fellowships at the Library’sCenter for Scholars and Writers to appli-cants whose research would be enhanced bysuch an affiliation.

Offered again this year are the FrederickBurkhardt Residential Fellowships forRecently Tenured Scholars. The Burkhardtfellowships this year will support scholarstenured since 1 October 1998, who areengaged in long-term, unusually ambitiousprojects in the humanities and related socialsciences. The $65,000 fellowships may beused in 2003-04, or in either of the two suc-ceeding years, and provide for an academicyear of residence at one of nine participatingnational research centers, plus support fromthe Fellow’s institution for an additionalperiod.

This will be the second competition forthe Charles A. Ryskamp ResearchFellowships. These fellowships, funded byThe Andrew W. Mellon Foundation, pro-vide a stipend of $60,000 for an academicyear of research, plus an allowance of $2,500for research and travel, and the possibility offunding for an additional summer, if justi-fied. The fellowships support tenure-trackAssistant Professors in the humanities andrelated social sciences whose reappointmentreviews have been successfully completed,but whose tenure reviews will not be com-pleted before 1 February 2003, those whohave made scholarly contributions that haveadvanced their fields, and who have welldesigned and carefully developed plans fornew research.

For further information visit:http://www.acls.org/fel-comp.htm Application forms are available online at:http://www.acls.org/ofa/register


continued from page 29

GR A N TS A N D AWA R D S

2002 ARSC Awards forExcellence in HistoricalRecorded Sound Research

The Association for Recorded SoundCollections is pleased to announce the win-ners of the 2002 ARSC Awards forExcellence in Historical Recorded SoundResearch, awarded this year during its annu-al conference in Santa Barbara, California.

Begun in 1991, the awards are given toauthors of books, articles or recording linernotes to recognize those publishing the verybest work today in recorded sound research.In giving these awards, ARSC recognizes thecontributions of these individuals and aimsto encourage others to emulate their highstandards and to promote readership of theirwork. The 2002 ARSC Awards honor bookspublished during 2001.

Best Research in Recorded GeneralPopular Music

Bing Crosby: A Pocketful of Dreams, theEarly Years, 1903-1940by Gary Giddins (Little, Brown &Company)

Best Research in Recorded Folk or EthnicMusic

Yellow Music: Media Culture and ColonialModernity in Chinese Jazz Ageby Andrew F. Jones (Duke University Press)

Best Research in Recorded Country Music

Discography of Western Swing and Hot StringBands, 1928-1942by Cary Ginell and Kevin Coffey(Greenwood Press)

Best Research in Recorded Classical Music

Best Discography:Witold Lutoslawski: A Bio-Bibliographyby Stanislaw Bedkowski and StinislawHrabia (Greenwood Press)

Best History:Sviatoslav Richter: Notebooks andConversationsby Bruno Monsaingeon; translated byStewart Spencer (Princeton UniversityPress)

Certificate of Merit:Pietro Mascagni: A Bio-Bibliographyby Roger Flury (Greenwood Press)

Best Research in Recorded Rock, Rhythm& Blues, or Soul

Orbisonby Colin Escott; discography by RichardWeize (notes to Bear Family CD set)

Best Research in Recorded Jazz

Best History:The Miller Companion to Jazz in Canada:and Canadians in Jazzby Mark Miller (Mercury Press)

Best Discography:Brilliant Corners: A Bio-Discography ofThelonious Monkcompiled by Chris Sheridan (GreenwoodPress)

Certificate of Merit:Before Motown: A History of Jazz in Detroit,1920-1960by Lars Bjorn with Jim Gallert (Universityof Michigan Press)

Best Research in Recorded Blues

Screamin’ and Hollerin’ the Blues: The Worldsof Charley Patton, by David Evans, John Fahey, EdwardKomara, and Dick Spottswood (notes toRevenant CD set)

Best General Research in Recorded Sound

Beyond Recall: A Record of Jewish MusicalLife in Nazi Berlin, 1933-1938by Rainer E. Lotz, Horst J. P. Bergmeier,and Ejal Jakob Eisler (notes to Bear FamilyCD set)

Certificate of Merit:Aural History: Essays on Recorded Sounded. by Andy Linehan (British Library,National Sound Archives)

Best Research in Record Labels orManufacturers

Brunswick Records: A Discography ofRecordings, 1916-1931 [in 4 volumes]by Ross Laird (Greenwood Press)

Certificate of Merit:Okeh Race Records: The 8000 “Race” Seriesby Laurie Wright (Self-published)

Best Research in the Preservation orReproduction of Recorded Sound

Broadcast Transcription Discsby James R. Powell, Jr. (GramophoneAdventures)

Phonographs With Flair: A Century of Stylein Sound Reproductionby Timothy C. Fabrizio and George F. Paul(Schiffer Publishing Ltd.)

Lifetime Achievement Award given toPekka Gronow

Pekka Gronow, the manager of the radioarchives of the Finnish BroadcastingCompany and an Adjunct Professor ofEthnomusicology at the University ofHelsinki, has been researching records andwriting about them for almost 40 years. Dr.Gronow has published several books onmusic and recordings in Finnish, English,and other languages, including AnInternational History of the RecordingIndustry (with Ilpo Saunio, 1998); producednumerous reissues of historical Finnishrecordings; and has contributed to theARSC Journal, IASA Journal,Ethnomusicology, JEMF Quarterly, and TheNew Grove Dictionary of Jazz, among others.One of the founders of Suomen Äänitearkisto, the Finnish Institute ofRecorded Sound, he has also supervised thepublication of the 25-volume Catalogue ofFinnish Recordings. Overall, Dr. Gronow’spublications have been instrumental in doc-umenting the history of Scandinavianrecordings.


BU L L E T I N BOA R D


TH E BU L L E T I N O F T H E

SO C I E T Y F O R AM E R I C A N MU S I C

405 Bellefield HallUniversity of PittsburghPittsburgh PA 15260

Change Service Requested

Printed in USA

Nonprofit org.

U.S. Postage

PAID

Pittsburgh, PA

Permit No. 1715

Further information is available at the web-site (www.american-music.org) or by con-tacting the SAM office.

H. Earle Johnson Bequest for BookPublication SubventionThis fund is administered by the BookPublications Committee and provides twosubventions up to $2,500 annually.Application deadline is November 15th.

Non-Print Publications SubventionThis fund is administered by the Non-Print Publications Committee and pro-vides annual subventions of approximately$700-$900.

Irving Lowens Memorial AwardsThe Irving Lowens Award is offered by theSociety for American Music each year for abook and article that, in the judgment ofthe awards committee, makes an outstand-ing contribution to the study of Americanmusic or music in America. Self-nomina-tions are accepted. Application deadline isFebruary 15th.

Wiley Housewright DissertationAwardThis award consists of a plaque and cashaward given annually for a dissertation thatmakes an outstanding contribution toAmerican music studies. The Society forAmerican Music announces its annualcompetition for a dissertation on any topicrelating to American music. The disserta-tion must be in English, and must be com-pleted between 1 January and 31December. Application deadline isFebruary 15th.

Student Travel GrantsGrants are available for student memberswho wish to attend the annual conferenceof the Society for American Music. Thesefunds are intended to help with the cost oftravel. Students receiving funds must bemembers of the Society and enrolled at acollege or university (with the exception ofdoctoral students who need not be formal-ly enrolled).

Mark Tucker AwardThe Mark Tucker Award is presented at theBusiness Meeting of the annual SAM con-ference to a student presenter who haswritten an outstanding paper for deliveryat that conference. In addition to therecognition the student receives before theSociety, there is also a plaque and a cashaward.

Awards of the Society for American Music

the early 1940s. i fled from the auditorium. the...

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