Legacies of Power in American Music: Essays in Honor of Michael J. Budds

Description

This volume honors and extends the contributions of educator and scholar Dr. Michael J. Budds to the field of musicology, particularly the study of American music. As the longtime editor of two book series for the College Music Society, Budds nurtured a wide range of scholarship in American music and had a lasting impact on the field. This book brings together scholars who worked with Budds as a colleague, editor, or mentor to carry on his legacy of passionate engagement with America’s rich and varied musical heritage. Ranging through jazz, gospel, Americana, and film music to American classical, and addressing music’s social contexts and analytical structure, the research gathered here attests to the diversity of the mosaic that is American music and the numerous scholarly approaches that have been taken to the subject. Cover Half Title Series Information Title Page Copyright Page Table of Contents Contributors Preface Words of Appreciation Part I The Performance of Black America Chapter 1 Spheres, Progressives, and Slavery: The Long-Lingering Effect of Music and Culture Politics in the Nineteenth ... Separate Spheres: Towards a Female Identity Slavery and Abolition Sheet Music Male Professionalism: Charles and Jakob Kunkel’s Compositions Sheet Music at Home: “Kiss Waltz” Sheet Music for Minstrelsy: “Jim Crow,” “Christy’s Minstrels,” “Airs Americains,” and “Old Uncle Ned” “Progressive” Music: “Henry Clay’s Grand March” Notes Bibliography Chapter 2 Some Thoughts On the Role of Patronage in the History of Jazz Notes Bibliography Chapter 3 The Cox Trio: A Study in Black Show Business James Thomas Cox J.T. Cox Gertrude Jonny Jordan Appendix: Jimmie Cox’s Songs Notes Bibliography Chapter 4 Jelly’s “Jungle Music”: Jelly Roll Morton, Duke Ellington, and Jazz Aesthetics Duke’s Jungle Aesthetics Morton’s Jungle Aesthetic Aftermath and the Duke–Jelly Relationship Musical Jungle(s) Notes Bibliography Chapter 5 The Pedagogical Legacies of Three Black Gospel Pioneers: Magnolia Lewis-Butts, Sallie Martin, and Roberta Martin Gospel in an Old-School Environment Persistence and the School of Life Musician, After-School Pedagogue, and Surrogate Mother Conclusions Notes Bibliography Chapter 6 Beyond Category: Duke Ellington as American Piano Original Notes Bibliography Part II Collaborations in Song Chapter 7 Hanns Eisler’s Hollywooder Liederbuch: Or What an Austro-German Émigré Did in Tinseltown During World War II Notes Bibliography Chapter 8 A Ballad for Our Times:: The Siegmeister–Hughes Connection Notes Bibliography Chapter 9 Songs of “Little Dixie”: The Shape-Note Hymn Arrangements of Virgil Thomson Influences Background of the Settings Hymns From the Old South Southern Hymns Conclusion Notes Bibliography Chapter 10 Traversing Musical Worlds Through Image and Sound:: Americana On Thomas Hart Benton’s Saturday Night at … Benton’s Musical Gatherings in Kansas City: Setting the Stage for Saturday Night at Tom Benton’s Harrison’s Prelude, Dance, and Fughetta (Late 1930s) Harrison’s Arrangement of the Folk Song “Locks and Bolts” (Late 1930s) A Virginal Replaces the Bentons’ Piano The Genesis of Saturday Night at Tom Benton’s The Visual Components of Saturday Night at Tom Benton’s: The Cover Drawing and the Photos The Cover Drawing The Album Photos Benton as Harmonica Player The Verbal Components of Saturday Night at Tom Benton’s: Benton’s Album Notes Benton, the Kansas City Philharmonic Orchestra, and Local Chamber Music The Quartet: Benton Captures Chamber Music in Rehearsal at His Kansas City Home The Sounding Components On the Decca Album: The Folk Song Arrangements Cindy Wayfaring Stranger Old Joe Clark Conclusion Notes Bibliography Part III Critiquing the Past Chapter 11 In Defense of Dwight The Case Against Dwight Dwight the Optimist Coming to Terms With Dwight Notes Bibliography Chapter 12 The Merry Widow: Freedom and Feminism in the Widowhood of Mrs. H.H.A. Beach Of Discarded Feathers and Bits of Shell The American Brooding Ground The Fledgling Prodigy Flaps Her Wings (1867–85) The Bird in the Gilded Cage Chirps (1885–1910) The Merry Widow Waltzes (1910–44) The Phoenix Rises Notes Bibliography Part IV The Analytical Perspective Chapter 13 Leitmotifs in Samuel Barber’s Antony and Cleopatra Antony and Cleopatra (The First Version) Cleopatra Motives “Salt Cleopatra” “Cleopatra” Cleo 1 and 2 Rage: Cleo 3 Cleopatra’s Love at First Sight (Or Cleopatra’s Sincere Love): Cleo 4 Antony Motives “Antony Fishes” Imperial Fifths “My Man of Men” The Antony March: The Military Hero The Love Theme Juxtapositions and Other Combinations Love 1 and 2 + Cleo 2 A String of Cleopatra Motives: A Leitsektion Love Plus “Cleopatra” Antony and Cleopatra (The Revised Version) The Second Love Duet “Give Me My Robe” (Revised) Changing the Final Leitsektion “My Man of Men” Again and Again A New Love Duet Notes Bibliography Chapter 14 The Left Hand Always Knows What the Right Hand Is Doing Degrees of Symmetry Inversion Movement I (Sostenuto) Triad Pairs and D4-Symmetry Movement II (Amabile) Some Set-Theoretical Properties of Inversionally Symmetrical Keyboard Writing Inversion Within Dyad Pairs Movement III (Scherzoso) Movement IV (Brioso) Notes Bibliography Chapter 15 A Study in Non-Hierarchical Coherence: Jerry Tabor’s Lemon; Birch UPIC Sonic Materials Compositional Process and Form Conclusion Acknowledgment Notes Bibliography Chapter 16 Parody and Crumb’s Voices From the Heartland, Or Double Voices in Crumb’s American Songbook VII Parody Mapping Troping Reversal Conclusion Notes Bibliography Index