Inhalt
- Preface
- Introduction
- Acknowledgements
- Table of Contents
- List of Illustrations
- Figures and Graphics
- 1540-1770
- 1:Early Encounters between Indigenous Peoples and European Explorers, 1540-1642 (Castañeda, Drake, de Meras, Smith, Wood)
- 2:From the Preface to the Bay Psalm Book (1640)
- 3:Four Translations of Psalm 100 (Tehilim, Bay Psalm Book, 1640 and 1698, Watts)
- 4:From the Diaries of Samuel Sewall
- 5:The Ministers Rally for Musical Literacy, 1720-21 (Mather, Walter, Symmes)
- 6:Benjamin Franklin Advises His Brother on How to Write a Ballad and How Not to Write like Handel (ca. 1764)
- 7:Advertisements and Notices from Colonial Newspapers, 1716-1774
- 8:Social Music for the Elite in Colonial Williamsburg in the 1750s/1770-1830
- 9:"Christopher Crotchet, Singing Master from Quavertown"
- 10:Singing the Revolution (Adams, Dickinson, Greeley)
- 11:Elisha Bostwick Hears a Scots Prisoner Sing "Gypsie Laddie" in 1777
- 12:A Sidebar into Ballad Scholarship ca.1880-1970: The Wanderings of "The Gypsy Laddie" (Child, Sharp, Coffin, Bronson)
- 13:William Billings and the New Psalmody, 1770-1794 (Billings, Gould)
- 14:Daniel Read on Pirating and "Scientific Music," ca. 1790-1830
- 15:Padre Narciso Durán Describes Musical Training at the Mission San Jose, 1813-1815
- 16:Moravian Musical Life at Bethlehem in the 1800s (Henry, Till, Bowne)
- 17:Reverend Burkitt Brings Camp Meeting Hymns from Kentucky to North Carolina in 1803
- 18:John Fanning Watson and The Errors in Methodist Worship (1819)
- 19:Reverend James B. Finley and Mononcue Sing "Come Thou Fount of Every Blessing" in 1823
- 20:Turn-of-the Century Theater Songs from Reinagle, Rowson, and Carr: "America, Commerce, and Freedom" and "The Little Sailor Boy"/1830-1870
- 21:Thomas D. Rice Acts Out "Jim Crow" and "Cuff," in the 1830s
- 22:William M. Whitlock, Banjo Player for the Virginia Minstrels in the 1850s
- 23:Edwin P. Christy, Stephen Foster, and "Ethiopian Minstrelsy"
- 24:Stephen Foster's Legacy, ca. 1845-1960 (Foster, Gordon, Robb, Simpson, Willis, Galli-Curci, Kuller and Webster, Charles)
- 25:The Fasola Folk, The Southern Harmony and The Sacred Harp, ca. 1830-1860 (Walker, White, and King )
- 26:A Sidebar into the Discovery of Shape-Note Music by a National Audience (Jackson, the 1991 Edition)
- 27:The Boston Public Schools Set a National Precedent in Music Education in 1837
- 28:Music Education for American Girls in the 1850s
- 29:Lorenzo Da Ponte Recruits an Italian Opera Company for New York (1831)
- 30:Early Expressions of Cultural Nationalism in the 1850s (Hopkins, Fry, Putnam's Monthly)/31. John S. Dwight Remembers How He and His Circle "Were But Babes in Music"
- 32:George Templeton Strong Hears the American Premiere of Beethoven's Fifth in 1841
- 33:German Americans Adapting and Contributing to Musical Life in the Mid 1800s
- 34:Emil Klauprecht's German-American novel, Cincinnati, oder die Geheimnisse des Westens, 1854
- 35:P. T. Barnum and the Jenny Lind Fever in 1850
- 36:Miska Hauser, Hungarian Violinist, Pans For Musical Gold in 1853
- 37:From the Journals of Louis Moreau Gottschalk
- 38:The 'Four-Part Blend' of the Hutchinson Family
- 39:Walt Whitman's Conversion to Opera in the 1850s
- 40:Clara Kellogg and the Memoirs of an American Prima Donna in the 1860s and '70s
- 41:Frederick Douglass from My Bondage and My Freedom, 1855
- 42:Harriet Beecher Stowe and Two Scenes from Uncle Tom's Cabin, 1852
- 43:From Slave Songs of the United States, 1867
- 44:A Sidebar into Memory: Slave Narratives from the Federal Writers' Project, 1936-1938
- 45:George F. Root Recalls How He Wrote a Classic Union Song
- 46:A Confederate Girl's Diary during the Civil War
- 47:Soldier-Musicians from the North and the South Recall Duties on the Front
- 48:Patrick S. Gilmore and the Golden Age of Bands (Newspaper review, Herbert)
- 49:Ella Sheppard Moore, a Fisk Jubilee Singer in the 1870s
- 50:Theodore Thomas and His Musical Manifest Destiny (Rose Fay Thomas, Theodore Thomas)/1880-1920
- 51:John Philip Sousa -Excerpts from his Autobiography
- 52:Why is a Good March like a Marble Statue? (Pryor, Fennell)
- 53:Willa Cather Mourns the Passing of the Small-Town Opera House
- 54:Henry Lee Higginson and the Founding of the Boston Symphony Orchestra in 1881
- 55:American Classical Music Goes to the Paris World's Fair, 1889
- 56:George Chadwick's Ideals for Composing Classical Concert Music in the 1890s
- 57:Late 19th-Century Cultural Nationalism: The Paradigm of Dvorák (Creelman, Paine, Burleigh)
- 58:Henry Krehbiel Explains a Critic's Craft and a Listener's Duty in 1896
- 59:Amy Fay Tackles the "Woman Question" in 1900
- 60:Amy Beach, Composer, on "Why I Chose My Profession" (1914)
- 61:Edward MacDowell, Poet-Musician, Remembered (Currier, Gilman)
- 62:Paul Rosenfeld's Manifesto for American Composers, 1916
- 63:From the Writings of Charles Ives/64, Frederic Louis Ritter Looks for "the People's Song" (1884)
- 65:Emma Bell Miles on "Some Real American Music" (1905)
- 66:Frances Densmore and the Documentation of American Indian Songs and Poetry
- 67:A Sidebar into National Cultural Policy: The Federal Cylinder Project (1979)
- 68:Charles K. Harris on Writing for Tin Pan Alley
- 69:Scott Joplin, Ragtime Visionary (Scott Joplin, Lottie Joplin)
- 70:A Sidebar into the Ragtime Revival of the 1970s: William Bolcom reviews The Collected Works of Scott Joplin
- 71:James Reese Europe Credits "Men of His Blood with Introducing Modern Dances" in the 1910s
- 72:Irving Berlin on "Love-Interest" As a Commodity in Popular Songs (1915)
- 73:Ferdinand "Jelly Roll" Morton Describes New Orleans and Its Jazz Scene, 1920-1950
- 74:Bessie Smith, Artist and Blues Singer (Press notice, Bailey, Schuller)
- 75:Thomas Andrew Dorsey "Brings the People Up" and Carries Himself Along
- 76:Louis Armstrong in His Own Words
- 77:Gilbert Seldes Waves the Flag of Pop
- 78:Al Jolson and The Jazz Singer
- 79:Carl Stalling: Master of Cartoon Music: An Interview
- 80:A Sidebar into Postmodernism: John Zorn Turns Carl Stalling into a Prophet
- 81:Alec Wilder Writes Lovingly about Jerome Kern
- 82:George Gershwin Surveys "Fifty Years of American Music"
- 83:William Grant Still, Pioneering African American Composer (Still, Locke, Still)
- 84:The Inimitable Henry Cowell as described by the Irrepressible Nicolas Slonimsky
- 85:Ruth Crawford on "Dissonant Music"
- 86:"River Sirens, Lion Roars, All Music to Varèse"
- 87:Leopold Stokowski and "Debatable Music"
- 88:Henry Leland Clark on the Composer's Collective
- 89:Marc Blitzstein In and Out of the Treetops of The Cradle Will Rock
- 90:Samuel Barber and the Controversy around the Premiere of Adagio for Strings (Downes, Pettis, Menotti, Harris)
- 92:Arthur Berger Divides Aaron Copland into Two Styles
- 93:Aaron Copland on the "The Personality of Stravinsky"
- 94:Roger Sessions Describes the American Period of Arnold Schoenberg (Sessions, Schoenberg, Sessions)
- 95:Uncle Dave Macon, Banjo Trickster at the Grand Ole Opry
- 96:The Bristol Sessions and Country Music
- 97:A Sidebar into the Folk Revival: Harry Smith's Canon of "Old-Time" Recordings
- 98:Zora Neale Hurston on "Spirituals and Neo-Spirituals"
- 99:Emma Dusenbury, Source Singer, Describes her Hard Times (1941)
- 100:John and Alan Lomax Propose a "Canon for American Folk Song" (1947)
- 101:Woody Guthrie Praises the "Spunkfire" Attitude of a Folk Song (1948)
- 102:Fred Astaire Dances like a Twentieth-Century American (Williams)
- 103:The Innovations of Oklahoma! (de Mille, Engel)
- 104:Duke Ellington on Swing as a Way of Life
- 105:Malcolm X Recalls the Years of Swing
- 106:The Many Faces of Billie Holiday (Holiday, Wilson, Bennett)
- 107:Ralph Ellison and the Birth of Bebop at Minton's, 1950-1975
- 108:Ella Fitzgerald On Stage (Peterson)
- 109:Leonard Bernstein Finds His Way to the American Musical
- 110:Stephen Sondheim on Writing "Theater Lyrics"
- 111:Muddy Waters Explains "Why It Doesn't Pay to Run from Trouble"
- 112:Elvis Presley in the Eye of Musical Twister (newspaper reviews, Gould, Lewis)
- 113:Chuck Berry in His Own Words
- 114:Greil Marcus and the New Rock Criticism in the 1970s
- 115:The Five String Banjo: Hints from the 1960s Speed-Master, Earl Scruggs
- 116:Pete Seeger, a TCUSAPSS, "Sings Out!"
- 117:Bob Dylan Turns Liner Notes into Poetry
- 118:Janis Joplin Grabs Pieces of Our Hearts (Joplin, Graham)
- 119:"Handcrafting the Grooves" in the Studio: Aretha Franklin at Muscle Shoals (Wexler)
- 120:Jimi Hendrix, Virtuoso of Electricity (Hendrix, Bloomfield)
- 121:Amiri Baraka Theorizes a Black Nationalist Aesthetic
- 122:Charles Reich on The Music of "Consciousness III"
- 123:McCoy Tyner on "The Jubilant Experience of John Coltrane's Classic Quartet
- 124: Miles Davis - Excerpts from his Autobiography
- 125:A Vietnam Vet Remembers Rocking and Rolling in the Mud of War (Rodriguez, Beaudoin and Rodriguez)
- 126:George Crumb and Black Angels—"A Quartet in Time of War"
- 127:Milton Babbitt on Electronic Music (Brody and Miller, Babbitt)
- 128:Edward T. Cone Satirizes Music Theory's New Vocabulary in the 1960s
- 129:Mario Davidovsky, An Introduction (Chasalow)
- 130:Elliot Carter on the 'Different Time Worlds' in String Quartets No. 1 and 2
- 131:John Cage, Words and Music For Changes (Cage, Anderson)
- 132:Harold Schonberg on "Art and Bunk, Matter and Anti Matter"
- 133:Pauline Oliveros, Composer and Teacher
- 134:Steve Reich on "Music as a Gradual Process," 1975-2000
- 135:Star Wars meets Wagner (Williams, Tomlinson)
- 136:Tom Johnson—What is Minimalism Really About?
- 137:Morton Feldman and His West German Fan Base (Feldman, Post)
- 138:Philip Glass and the Roots of Reform Opera
- 139:Laurie Anderson, Performance Artist (Anderson, Gordon)
- 140:Meredith Monk and the Revelation of Voice
- 141:Recapturing the Soul of the American Orchestra (Duffy, Tower)
- 142:Two Economists Measure the Impact of Blind Auditions between 1960 and 2000
- 143:John Harbison on Modes of Composing
- 144:Wynton Marsalis on Learning from the Past for the Sake of the Present
- 145:John Adams, an American Master
- 146:The Incorporation of the American Folklife Center
- 147:Daniel Boorstin's Welcoming Remarks at the Conference on Ethnic Recordings in America (1977)
- 148:Willie Colon on "Conscious Salsa"
- 149:The Accordion Travels Through "Roots Music" (Savoy)
- 150:Santiago Jiménez, a Patriarch of Conjunto
- 151:Gloria Anzaldúa on "Vistas" y corridos: My Native Tongue
- 152:Contemporary Native American Music and the Pine Ridge Reservation (Porcupine Singers, Frazier)
- 153:MTV and the Music Video (MoMA Exhibition of 1985, Hoberman)
- 154:Turning Points in the Career of Michael Jackson (Jackson, Jones)
- 155:Sally Banes Explains Why Breaking is Hard to Do
- 156:Two Members of Public Enemy Discuss Sampling and Copyright Law
- 157:DJ Q-bert, Master of Turntable Music (Chin)
- 158:A Press Release from the Country Music Association (1997)
- 159:Ephemeral Music: Napster's Congressional Testimony (2000)