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This collection of new essays focuses on the crucial period at the end of the 19th and early 20th century when American music developed its own unique social and cultural institutions.
The series of biographical sketches published by Brainard's Musical World between 1877 and 1889 is notable for the diversity of the musicians profiled and for the entertaining personal information provided. This period witnessed the establishment of musical institutions and attitudes toward music that have shaped American music to the present day. The biographies present a cross-section of American musicians in the late 19th century, including singers, instrumentalists, writers, teachers, and composers. Among the musicians included are some of America's most prominent conductors, such as Theodore Thomas and Leopold Damrosch; composers, such as John Knowles Paine and George F. Root; writers, such as John S. Dwight and Amy Fay; teachers, such as William Mason and Erminia Rudersdorff; and performers, such as Emma Abbott and Maud Powell. Scores of less familiar musicians who were also instrumental in shaping America's music are included as well. Originally intended for general readers, the biographical sketches not only shed light on musical topics but also include personal information that is seldom found in a traditional dictionary and which speaks to the attitudes and concerns of the late 19th century society. This work will be of value to scholars and researchers of 19th-century American music and to those interested in the development of popular song. Entries are alphabetically arranged and include select bibliographies. A general bibliography and index are also included.
First published in 2006. Routledge is an imprint of Taylor & Francis, an Informa company.
As divisive and destructive as the Civil War was, the era nevertheless demonstrated the power that music could play in American culture. Popular songs roused passion on both sides of the Mason-Dixon line, and military bands played music to entertain infantry units-and to rally them on to war. The institution of slavery was debated in songs of the day, ranging from abolitionist anthems to racist minstrel shows. Across the larger cultural backdrop, the growth of music publishing led to a flourishing of urban concert music, while folk music became indelibly linked with American populism. This volume, one of the first in the American History through Music series, presents narrative chapters that recount the many vibrant roles of music during this troubled period of American history. A chapter of biographical entries, a dictionary of Civil War era music, and a subject index offer useful reference tools. The American History through Music series examines the many different styles of music that have played a significant part in our nation's history. While volumes in this series show the multifaceted roles of music in culture, they also use music as a lens through which readers may study American social history. The authors present in-depth analysis of American musical genres, significant musicians, technological innovations, and the many connections between music and the realms of art, politics, and daily life. Chapters present accessible narratives on music and its cultural resonations, music theory and technique is broken down for the lay reader, and each volume presents a chapter of alphabetically arranged entries on significant people and terms.
What does it mean to be Californian? To find out, Mina Yang delves into multicultural nature of musics in the state that has launched musical and cultural trends for decades. In the early twentieth century, an orientalist fascination with Asian music and culture dominated the popular imagination of white Californians and influenced their interactions with the Asian Other. Several decades later, tensions between the Los Angeles Police Department and the African American community made the thriving jazz and blues nightclub scene of 1940s Central Avenue a target for the LAPD's anti-vice crusade. The musical scores for Hollywood's noir films confirmed reactionary notions of the threat to white female sexuality in the face of black culture and urban corruption while Mexican Americans faced a conflicted assimilation into the white American mainstream. Finally, Korean Americans in the twenty-first century turned to hip-hop to express their cultural and national identities. A compelling journey into the origins of musical identity, California Polyphony explores the intersection of musicology, cultural history, and politics to define Californian.
Female characters assumed increasing prominence in the narrative of 19th and early 20th century opera. This book shines a light on the singers who created and inhabited these roles, the flesh-and-blood women who embodied these fabled doomed women onstage before an audience.
The most informed reference book on nineteenth-century music currently available, this comprehensive overview of music in the nineteenth century draws on the most recent scholarship in the field. Essays investigate the intellectual and socio-political history of the time, and examine topics such as nations and nationalism, the emergent concept of an avant garde, and musical styles and languages at the turn of the century. It contains a detailed chronology, and extensive glossaries.
Decentralization and diversity characterized much of the performance of art music in Los Angeles. Decentralization defined the city's growth since the late-nineteenth century, and because the central city did not dominate music culture, as in the East and Midwest, a greater diversification of music emerged in the communities of Greater Los Angeles. Performers and audiencesincluded Latinos, Euro-Americans, Asian Americans, and African Americans, but the notion of diversity goes beyond ethnicity; it also includes 'media diversity', the presentation of music through a variety of media. recording, radio, film media strongly influenced music performance in the city as it grew into the epicenter of entertainment in America.
A history -- the first ever -- of the abundant traditions of German-American musical theater in New York, and a treasure trove of songs and information.
The first scholarly account of the music and culture of collegiate a cappella