Podcasts about American Musicological Society

1. A complete list of University of California Press journals is available at UC Press Journals 2. Clare E. B. Cannon; Advancing sustainable transitions: A spatial analysis of socio-environmental dynamics of landfills across the United States. Elementa: Science of the Anthropocene 12 January 2024; 12 (1): 00101: Link 3. Morrison, Matthew D. Blacksound: Making Race and Popular Music in the United States. Oakland: University of California Press, 2024. Available at: UC Press Bookstore 4. Matthew D. Morrison; Race, Blacksound, and the (Re)Making of Musicological Discourse. Journal of the American Musicological Society 1 December 2019; 72 (3): 781–823: Link 6. Jennifer Lynn Peterson; Scenes of Destruction and Beauty: Sponsored Film, Women Reformers, and the Save-the-Redwoods League. Feminist Media Histories 1 April 2023; 9 (2): 43–75: Link If you are interested in supporting the work of UC Press and its Journals Program, please consider making a charitable donation to the UC Press Foundation. To learn more about the UC Press Foundation and how to contribute, please visit UC Press Website. David Famiano is the Journals Director at the University of California Press Jessica Chesnutt is the Journals Manager at the University of California Press. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

Christopher Ramos is currently serving as Director of Bands and Assistant Professor of Music at Utah Valley University in Orem, Utah. He conducts the UVU Wind Symphony and directs instrumental studies within the music education area. He additionally teaches courses in conducting, music education, and music appreciation. He received the DMA in instrumental conducting at The Hartt School, studying with Glen Adsit and Edward Cumming. While at Hartt, he assisted in conducting Hartt's instrumental performing ensembles and the Greater Hartford Youth Wind Ensemble, and as part of the adjunct faculty he taught courses for graduates and undergraduates in conducting, brass methods, diversity and belonging, jazz pedagogy, and in the core music theory sequence. Before Hartt, Chris served as a band director at Dalat International School in Penang, Malaysia where he taught Western classical and jazz music in performing and theory courses across grades 6-12, and his students were invited to perform in international festivals across Southeast Asia. He is also an active scholar working at the intersection of musicology, wind band studies, and music education with his latest publications forthcoming in the Music Educators Journal (NAfME) and the Utah Music Educators Journal (UMEA). In 2022 he received the Goldstein Award from the University of Hartford, and in 2016 he received the Joanne Kealinohomoku Prize from the Society of Ethnomusicology Southwest for his scholarship. He holds additional degrees from the University of New Mexico where he studied with Eric Rombach-Kendall, and from East Texas A&M University (formerly Texas A&M University-Commerce) where he studied with Phillip Clements (conducting), Luis Sanchez (piano), and Mike Morrow (horn). In addition to his conducting, researching, and teaching, he actively performs both on the French horn and at the keyboard. He has produced, performed, and conducted on records for the Naxos, Summit, and Parma record labels, and he has performed in and conducted ensembles in concert halls, stages, forests, and patios across the United States and Asia. An avid supporter of new music, he has been part of numerous commissioning projects for solo horn, chamber ensembles, and wind ensembles. He is a second-place winner in The American Prize for conducting and in 2025-27 he holds the Harry Begian Conductor Scholar Award at Blue Lake Fine Arts Camp. He is an active member in the College Band Directors National Association, Utah Music Educators Association, Utah Bandmasters Association, National Band Association, American Musicological Society, and National Association for Music Education, and is an honorary member of the Phi Mu Alpha Sinfonia National Music Fraternity.

Professor Alejandro Luis Madrid is the Walter W. Naumburg Professor of Music at Harvard University. He is a cultural theorist of sound and music working in Latin American and Latinx studies. Among other honors, he has received the Humboldt Research Award, the Guggenheim Fellowship, the Dent Medal, the Premio de Musicología Casa de las Américas, and awards from the American Musicological Society, the Latin American Studies Association, ASCAP, IASPM, and the Society for Ethnomusicology. Professor Madrid is sought after as an expert commentator by national and international media outlets, including Time Magazine, The New York Times, The Washington Post, Agence France-Presse, the BBC, Public Radio International, and Radio Uruguay (SODRE). He acted as music advisor to Welsh filmmaker Peter Greenaway, whose movie, Eisenstein in Guanajuato, is set in early 1930s Mexico.In today's conversation, we discuss his latest monograph, The Archive and the Aural City. Sound, Knowledge, and the Politics of Listening (Duke University Press, 2025) where he examines sound archives and the production and circulation of knowledge at the aural turn. 

Christopher Ramos is currently serving as Director of Bands and Assistant Professor of Music at Utah Valley University in Orem, Utah. He conducts the UVU Wind Symphony and directs instrumental studies within the music education area. He additionally teaches courses in conducting, music education, and music appreciation. He received the DMA in instrumental conducting at The Hartt School, studying with Glen Adsit and Edward Cumming. While at Hartt, he assisted in conducting Hartt's instrumental performing ensembles and the Greater Hartford Youth Wind Ensemble, and as part of the adjunct faculty he taught courses for graduates and undergraduates in conducting, brass methods, diversity and belonging, jazz pedagogy, and in the core music theory sequence. Before Hartt, Chris served as a band director at Dalat International School in Penang, Malaysia where he taught Western classical and jazz music in performing and theory courses across grades 6-12, and his students were invited to perform in international festivals across Southeast Asia. He is also an active scholar working at the intersection of musicology, wind band studies, and music education with his latest publications forthcoming in the Music Educators Journal (NAfME) and the Utah Music Educators Journal (UMEA). In 2022 he received the Goldstein Award from the University of Hartford, and in 2016 he received the Joanne Kealinohomoku Prize from the Society of Ethnomusicology Southwest for his scholarship. He holds additional degrees from the University of New Mexico where he studied with Eric Rombach-Kendall, and from East Texas A&M University (formerly Texas A&M University-Commerce) where he studied with Phillip Clements (conducting), Luis Sanchez (piano), and Mike Morrow (horn). In addition to his conducting, researching, and teaching, he actively performs both on the French horn and at the keyboard. He has produced, performed, and conducted on records for the Naxos, Summit, and Parma record labels, and he has performed in and conducted ensembles in concert halls, stages, forests, and patios across the United States and Asia. An avid supporter of new music, he has been part of numerous commissioning projects for solo horn, chamber ensembles, and wind ensembles. He is a second-place winner in The American Prize for conducting and in 2025-27 he holds the Harry Begian Conductor Scholar Award at Blue Lake Fine Arts Camp. He is an active member in the College Band Directors National Association, Utah Music Educators Association, Utah Bandmasters Association, National Band Association, American Musicological Society, and National Association for Music Education, and is an honorary member of the Phi Mu Alpha Sinfonia National Music Fraternity.

Las músicas no occidentales forman parte del cambio producido en la música en todos sus parámetros. Entre estas puede hablarse del gagaku japonés, de las músicas chinas asociadas a las tradiciones yayue y suyue, y de las ejecutadas por etnias africanas como los pigmeos._____Has escuchadoJapon. Gagaku. Etenraku. Ono Gagaku Kaï Society, intérpretes. Ocora (1987)Pipa: “White Snow in Spring”, performed by Wu Man. YouTube Vídeo. Publicado por The Met, 1 de agosto de 2016: https://www.youtube.com/watch?v=ksiM1wRcutQCameroon. Baka Pygmy Music. Hut Song. Grabaciones de campo de Patrick Renaud y Simha Arom. Auvidis (1990)_____Selección bibliográficaAROM, Simha, African Polyphony and Polyrhythm: Musical Structure and Methodology. Cambridge University Press, 2004BRANDILY, Monique, Introduction aux musiques africaines. Actes sud, 1997COOKE, Mervyn, “Britten and the Shō”. The Musical Times, vol. 129, n.º 1743 (1988), pp. 231-233*DEMOLIN, Didier, “Les Rêveurs de la forêt: Polyphonies des Pygmées Efe de l'Ituri (Zaïre).” Cahiers de Musiques Traditionnelles, vol. 6 (1993), pp. 139-151*FELD, Steven, “Pygmy POP. A Genealogy of Schizophonic Mimesis”. Yearbook for Traditional Music, vol. 28 (1996), pp. 1-35*FÜRNISS, Susanne, “La Technique du jodel chez les pygmées aka (Centrafrique). Étude phonétique et acoustique”. Cahiers de Musiques Traditionnelles, vol. 4 (1991), pp. 167-187*—, “The Adoption of the Circumcision Ritual Bèkà by the Baka-Pygmies in Southeast Cameroon”. African Music, vol. 8, n.º 2 (2008), pp. 92-113*GARFIAS, Robert, “Gradual Modifications of the Gagaku Tradition”. Ethnomusicology, vol. 4, n.º 1 (1960), pp. 16-19*GRAUER, Victor A., “Concept, Style, and Structure in the Music of the African Pygmies and Bushmen: A Study in Cross-Cultural Analysis”. Ethnomusicology, vol. 53, n.º 3 (2009), pp. 396-424*HARRISON, LeRon James, “‘Gagaku' in Place and Practice: A Philosophical Inquiry into the Place of Japanese Imperial Court Music in Contemporary Culture”. Asian Music, vol. 48, n.º 1 (2017), pp. 4-27*HUI, Yu y Jonathan P.J. Stock (eds.), The Oxford Handbook of Music in China and the Chinese Diaspora. Oxford University Press, 2023IRLANDINI, Luigi Antonio, “Messiaen's ‘Gagaku'”. Perspectives of New Music, vol. 48, n.º 2 (2010), pp. 193-207*JINGFANG, Yuan (ed.), Comprehensive Introduction to Chinese Traditional Music. Hollitzer Wissenschafts V, 2023JONES, Stephen, “Source and Stream: Early Music and Living Traditions in China”. Early Music, vol. 24, n.º 3 (1996), pp. 375-388*KEISTER, Jay, “The Shakuhachi as Spiritual Tool: A Japanese Buddhist Instrument in the West”. Asian Music, vol. 35, n.º 2 (2004), pp. 99-131*KISLIUK, Michelle Robin, Seize the Dance!: Baaka Musical Life and the Ethnography of Performance. Oxford University Press, 1998KOUWENHOVEN, Frank, “Meaning and Structure: The Case of Chinese Qin (Zither) Music”. British Journal of Ethnomusicology, vol. 10, n.º 1 (2001), pp. 39-62*KUBIK, Gerhard (ed.), Theory of African Music. University of Chicago Press, 2010LANCASHIRE, Terence, “World Music or Japanese - The Gagaku of Tôgi Hideki”. Popular Music, vol. 22, n.º 1 (2003), pp. 21-39*LEPENDORF, Jeffrey, “Contemporary Notation for the Shakuhachi: A Primer for Composers”. Perspectives of New Music, vol. 27, n.º 2 (1989), pp. 232-251*MALM, William P., “Chinese Music in the Edo and Meiji Periods in Japan”. Asian Music, vol. 6, n.º 1/2 (1975), pp. 147-172*—, Culturas musicales del Pacífico, el Cercano Oriente y Asia. Alianza, 1985—, Japanese Music and Musical Instruments. Tuttle Publishing, 1989MYERS, John, The Way of the Pipa: Structure and Imagery in Chinese Lute Music. Kent State University Press, 1992ROUGET, Gilbert, Ethnographie Musicale: Afrique Noire, Malgache (Musique), Pygmées (Musique Des), Ethnomusicologie. Fasquelle, 1961—, “Musical efficacy: musicking to survive—the case of the pygmies”. Yearbook for Traditional Music, vol. 43 (2011), pp. 89-121*SCHAEFFNER, André, The origin of musical instruments: an ethnological introduction to the history of instrumental music. Editado y traducido por Rachelle Taylor, Ariadne Lih y Emelyn Lih. Routledge, 2020*SHEPPARD, W. Anthony, “Continuity in Composing the American Cross-Cultural: Eichheim, Cowell, and Japan”. Journal of the American Musicological Society, vol. 61, n.º 3 (2008), pp. 465-540*YUNG, Bell, “An Audience of One: The Private Music of the Chinese Literati”. Ethnomusicology, vol. 61, n.º 3 (2017), pp. 506-539* *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

Artistic Director Patrick Dupre Quigley interviews scholar Honey Meconi about the music on Seraphic Fire's October 2024 concert, "A Brief History of Western Music." Honey Meconi is the inaugural Arthur Satz Professor at the University of Rochester, where she is also Professor of Musicology at the Eastman School of Music. She is the founding editor of the monograph series “Oxford Studies in Early Music” for Oxford University Press. She is a specialist in music before 1600, and her many publications include Hildegard of Bingen (the first English-language book on Hildegard as composer), Pierre de la Rue and Musical Life at the Habsburg-Burgundian Court, and a continually expanding series of performing editions of Hildegard's music, freely available online. Her research has been supported by Fulbright, Mellon, and NEH Fellowships as well as numerous other grants. A lifelong performer, she is co-recipient of the American Musicological Society's Noah Greenberg Award “for distinguished contribution to the study and performance of early music.” Her public musicology blog, The Choral Singer's Companion: Music History with a Soupçon of Snark, is read worldwide. Credits HostPatrick Dupre QuigleyGuestHoney Meconi Production Credits Alexis Aimé, producer Watch on YouTube

Can music teach us how to live? In this interview Evan Rosa invites Daniel Chua—a musicologist, composer at heart, and Professor of Music at the University of Hong Kong—to discuss his latest book, Music & Joy: Lessons on the Good Life.Together they discuss the vastly different ancient and modern approaches to music; the problem with seeing music for consumption and entertainment; the ways different cultures conceive of music and wisdom: from Jewish to Greek to Christian; seeing the disciplined spontaneity of jazz improvisation fitting with both a Confucian perspective on virtue, and Christian newness of incarnation; and finally St. Augustine, the worshipful jubilance of singing in the midst of one's work to find rhythm and joy that is beyond suffering; and a final benediction and blessing for every music lover.Throughout the interview, we'll offer a few segments of the music Daniel discusses, including Beethoven's Opus 132 and the Ode to Joy from Beethoven's 9th symphony, and John Cage's controversial 4'33”—which Daniel recommends we listen to every single day, and which we're going to play during this episode toward the end.Show NotesMusic and Joy: Lessons on the Good Life by Daniel Chua (https://yalebooks.yale.edu/book/9780300264210/music-and-joy/)Can music teach us how to live?The emotional relationship we have with musicEveryone identifies with musicHow did you come to love music and write on it?MusicologistThe Sound of Music soundtrack (https://www.youtube.com/playlist?list=PLeSQLYs2U8X0nTi15MHjMAWim3PxIyEqI)Listening to music at a young ageLove of Beethoven as a childWhat about Beethoven in particular spoke to you? Do you have memories of what feeling or challenges or thoughts or kind of ambitions were there?Beethoven as harder to listen to and sit through as it is quite disruptive and intellectual in styleBeethoven and Freedom by Daniel Chua (https://www.barnesandnoble.com/w/beethoven-freedom-daniel-k-l-chua/1126575597)What pieces in particular, or what about Beethoven's composition was particularly moving to you?Beethoven's final string quartets (https://www.youtube.com/watch?v=7qaq881bwRI)“It's very strange. It's like the most complex and the most simple music. And somehow they speak very deeply to my soul and my heart. And you just want to listen to them all the time.”A Minor String Quartet, Opus 132 (https://www.youtube.com/watch?v=FUob2dcQTWA)A piece of thanksgiving to GodMessages sent by music as a young person about how things come togetherMusic interacts with usPlaying to understand how it is that a piece worksHow do we replicate what music communicates in our daily lives?Beethoven's Ode to Joy (https://www.youtube.com/watch?v=q0EjVVjJraA)Stephen Pinker - music is auditory cheesecake“If music is joy, then what is it? What kind of joy is it?”Consuming music is not the same as joy; music is not simply entertainmentThe fanfare of terror in Ode to Joy“Humans are strange. We are very sinful creatures so we tend to weaponize whatever we have to weaponize and we weaponize music too.”“Whatever we do with music as humans, there is something more in music that speaks beyond out puny human point of view of music.”Our view of music and joy today are too human; music is cosmicWe tune ourselves, our virtues, our wisdom to the rhythm of the universe.Joy as something we obey, we listen to.“Music isn't human. Music is actually creation.”Music, the Logos, and WisdomMusic as something that teaches us how to live.Wisdom taking delight, joy, in the universe.Music is deeply beautiful; there is profound goodness to itA lesson in flourishing found in music, in the tuning of ourselvesMusic is truthful; Christ as an instrument and salvation as being in tuneSheet music v performance as an analogy for incarnationMusic as an event that is happeningHarmony and coming together - finding one's place within the turn; Taoist and Confucian traditions“Jazz offers this fantastic expression of a different kind of wisdom born through suffering and grief.”Improvisation in jazz; an exuberance - the weird and the spontaneous alongside the orderedMusic as an opportunity for emotion and a way to communicate and understand; spirituals and slave hymns“The order of the cosmos is basically tragic. It's a bad, bad world. And music is a kind of consolation in that.”“Music can't help but be meaningful.”4'33" by John Cage (https://www.youtube.com/watch?v=AWVUp12XPpU)Whatever we are, music is there.Using music to make sense of things; really attend to the world and its music.Augustine's Book of Music “De Musica” (https://archive.org/details/augustine-on-music-de-musica/page/159/mode/2up)The spontaneous music of the worldDefiant joy in the music of slave hymns; a joy that will not be crushedA robust understanding of joyMusic tells us something about the world, the cosmos, of creation - Music reflects the heart of God.About Daniel ChuaDaniel K. L. Chua is the Chair Professor of Music at the University of Hong Kong. Before joining Hong Kong University to head the School of Humanities, he was a Fellow and the Director of Studies at St John's College, Cambridge, and later Professor of Music Theory and Analysis at King's College London. He is the recipient of the 2004 Royal Musical Association's Dent Medal, an Honorary Fellow of the American Musicological Society, and a Corresponding Fellow of the British Academy. He served as the President of the International Musicological Society 2017-2022. He has written widely on music, from Monteverdi to Stravinsky, but is particularly known for his work on Beethoven, the history of absolute music, and the intersection between music, philosophy and theology. His publications include The ‘Galitzin' Quartets of Beethoven (Princeton, 1994), Absolute Music and the Construction of Meaning (Cambridge, 1999), Beethoven and Freedom (Oxford, 2017), Alien Listening: Voyager's Golden Record and Music From Earth (Zone Books, 2021), Music and Joy: Lessons on the Good Life (Yale 2024), ‘Rioting With Stravinsky: A Particular Analysis of the Rite of Spring' (2007), and ‘Listening to the Self: The Shawshank Redemption and the Technology of Music' (2011).Image Credit: “Beethoven with the Manuscript of the Missa Solemnis”, Joseph Karl Stieler, 1820, oil on canvas, Beethoven-Haus, Bonn (Public Domain, Wikimedia Link)Ludwig van Beethoven, String Quartet No. 15 in A minor, Op. 132: iii. “Heilige Dankgesang eines Genesenden an die Gottheit” (”Holy song of thanks of a convalescent to the Divinity”), Amadeus Quartet, 1962 (via Internet Archive)Ludwig van Beethoven, The Symphony No 9 in D minor, Op 125 "Choral" (1824), Concertgebouw Orchestra conducted by Otto Klemperer, Live Performance, 17 May 1956 (via Internet Archive)Traditional Chinese Music, Instrument: Ehru, “Yearning for Love” Remembering of The Xiao on The Phoenix Platform (via Internet Archive)John Coltrane, “The Inch Worm”, Live in Paris, 1962 (via Internet Archive)4'33”, John Cage, 1960trThe McIntosh County Shouters perform “Gullah-Geechee Ring Shout” (Library of Congress)

The seventh and final episode of Season 2 of The Sounding Jewish Podcast features Dr. Rebecca Cypess. We discuss how she came to the field of Jewish music studies, and her ongoing work on music in early modern Italy, England, and Gregorian England.Musicologist and historical keyboardist Dr. Rebecca Cypess is Professor of Music and Associate Dean for Academic Affairs at Mason Gross School the Arts, Rutgers University. In July 2024, she will assume the position of Dean of Stern College for Women and Yeshiva College at Yeshiva University. She is the author of Curious and Modern Inventions: Instrumental Music as Discovery in Galileo's Italy (2016) and Women and Musical Salons in the Enlightenment (2022), co-editor of Sara Levy's World: Gender, Judaism and the Bach Tradition in Enlightenment Berlin (2018) and Music and Jewish Culture in Early Modern Italy: New Perspectives (2022), and over 40 peer-reviewed articles and book chapters. Cypess is founder and director of the Raritan Players, whose concerts and recordings explore little-known performance practices and compositions of the eighteenth century, especially those associated with women. She has been the recipient of two awards from the American Musicological Society: the Ruth A. Solie Award for a collection of musicologist essays of exceptional merit and the Noah Greenberg Award for contributions to historical performance.

In this KEEN ON show, the music historian Sheryl Kaskowitz, author of A CHANCE TO HARMONIZE, narrates how FDR and his team of New Dealers saved America from the Great Depression - one folk song at a time. And she explains that there would have been on popular American folk music - no Pete Seeger, Woody Guthrie, Joan Baez or Bob Dillon - without FDR's Hidden Music Unit and its radical ambition to reinvent American communities in the depths of the 1930s. Sheryl Kaskowitz is a writer, editor, and audio storyteller based in Berkeley, California. Her new book, A Chance to Harmonize: How FDR's Hidden Music Unit Tried to Save America from the Great Depression—One Song at a Time, comes out in April 2024 from Pegasus Books. Since earning her PhD from Harvard, Sheryl has written extensively about music in American culture in the twentieth and twenty-first centuries and the role that music can play in civic life. Her first book, God Bless America: The Surprising History of an Iconic Song, was published in 2013 to positive reviews (including pieces in The Washington Post and The Christian Science Monitor) and won an ASCAP Deems Taylor Book Award for music writing. Her writing has been published in The New York Times, Slate, Humanities, and The Avid Listener. She appeared in the BBC audio documentary “Government Song Woman” and has been interviewed on NPR's “All Things Considered,” WNYC's “The Takeaway,” the Washington Post's “Can He Do That?” podcast, the ABC News podcast “Start Here,” and the public radio news show “The Texas Standard.” Sheryl has received the Anne Firor Scott Mid-Career Fellowship from the Southern Association for Women Historians (2022), a Public Scholars Fellowship from the National Endowment for the Humanities (2018), a Kluge Fellowship from the Library of Congress (2016), and research grants and awards from the American Musicological Society, Association for Recorded Sound Collections, Franklin & Eleanor Roosevelt Institute, Music Library Association, and Society for American Music.Named as one of the "100 most connected men" by GQ magazine, Andrew Keen is amongst the world's best known broadcasters and commentators. In addition to presenting KEEN ON, he is the host of the long-running How To Fix Democracy show. He is also the author of four prescient books about digital technology: CULT OF THE AMATEUR, DIGITAL VERTIGO, THE INTERNET IS NOT THE ANSWER and HOW TO FIX THE FUTURE. Andrew lives in San Francisco, is married to Cassandra Knight, Google's VP of Litigation & Discovery, and has two grown children.Keen On is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit keenon.substack.com/subscribe

De raigambre europea y originada en Gran Bretaña, conecta con el free jazz, la música académica contemporánea, la experimental y la vanguardia que se gesta también en Estados Unidos. Si el jazz se ha calificado muchas veces como “el sonido de la sorpresa”, esta sería una “música sin memoria”._____Has escuchadoBarcelona. Esterri / Derek Bailey y Agustí Fernández. Derek Bailey, guitarra; Agustí Fernández, piano. Hopscotch Records (2001)Monoceros / Evan Parker. Evan Parker, saxofón soprano solo. Incus (1978)Solos. Ejié / Seijiro Murayama. Seijiro Murayama, caja (snare drum) sola. Zerojardins (2009)Todos los animales se reúnen en un gran gemido. Huracán de púrpura / Truss. Ferran Fages, guitarra acústica; Alejandro Rojas-Marcos, clavicordio; Bárbara Sela, flautas. Inexhaustible Editions (2020)Winter. Aconite / Wade Matthews & Alfredo Costa Monteiro. Wade Matthews, síntesis digital; Alfredo Costa Monteiro, objetos amplificados. Copy For Your Records (2011)_____Selección bibliográficaALONSO, Chefa, Improvisación libre: composición en movimiento. Dos Acordes, 2010*—, Enseñanza y aprendizaje de la improvisación libre. Propuestas y reflexiones. Editorial Alpuerto, 2014*BAILEY, Derek, La improvisación: su naturaleza y su práctica en la música. Ediciones Trea, 2010*BARZEL, Tamar, “‘We Began from Silence': Toward a Genealogy of Free Improvisation in Mexico City: Atrás del Cosmos at Teatro El Galeón, 1975-1977”. En: Experimentalism in Practice: Music Perspectives from Latin America. Editado por Ana R. Alonso-Minutti, Eduardo Herrera y Alejandro L. Madrid-González. Oxford University Press, 2018*BEN-TAL, Oded y Caroline Wilkins, “Improvisation as a Creative Dialogue”. Perspectives of New Music, vol. 51, n.º 1 (2013), pp. 21-39*BOSSEUR, Jean-Yves, Musique et contestation: la création contemporaine dans les années 1960. Minerve, 2019*CANONNE, Clément, “Improvisation collective libre et processus de création musicale: création et créativité au prisme de la coordination”. Revue de Musicologie, vol. 98, n.º 1 (2012), pp. 107-148*—, “Focal Points in Collective Free Improvisation”. Perspectives of New Music, vol. 51, n.º 1 (2013), pp. 40-55*—, “Du concept d'improvisation à la pratique de l'improvisation libre”. International Review of the Aesthetics and Sociology of Music, vol. 47, n.º 1 (2016), pp. 17-43*CORBETT, John, A Listener's Guide to Free Improvisation. University of Chicago Press, 2016COSTA, Rogério, “Free Musical Improvisation and the Philosophy of Gilles Deleuze”. Perspectives of New Music, vol. 49, n.º 1 (2011), pp. 127-142*DENZIER, Bertrand y Jean-Luc Guionnet (eds.), The Practice of Musical Improvisation: Dialogues with Contemporary Musical Improvisers. Bloomsbury, 2021*GALIANA, Josep Lluís, “De la naturaleza de la improvisación libre: elementos esenciales para su identificación y diferencias con la composición escrita”. Itamar: Revista de Investigación Musical: Territorios del Arte, n.º 4 (2018), pp. 26-49*—, Emociones sonoras: de la creación electroacústica, la improvisación libre, el arte sonoro y otras músicas experimentales. EdictOràlia, 2020*HOYER, Timo, Anthony Braxton: Creative Music. Wolke Verlag, 2022IRETA SÁNCHEZ, Iván Tadeo, La improvisación libre en solo: una aproximación fenomenológica y una proposición de análisis. Tesis doctoral, Universitat Autònoma de Barcelona, 2019MATTHEWS, Wade, Improvisando: la libre creación musical. Turner, 2012*MOLINA ALARCÓN, Miguel, “Auscultando la improvisación libre a la deriva”. En: Quartet de la Deriva. La improvisación libre y la teoría de la deriva. Editorial Obrapropia, 2012MUNÁRRIZ ORTIZ, Jaime, “Del lienzo en blanco al playback. Modelos de improvisación libre en el arte tecnológico”. Revista de Bellas Artes: Revista de Artes Plásticas, Estética, Diseño e Imagen, n.º 14 (2019-2020), pp. 51-67NOGLIK, Bert, “La música improvisada europea”. En: Hurta Cordel. Festival Internacional de Música Improvisada. La Casa Encendida, 2008OLEWNICK, Brian, Keith Rowe: The Room Extended. Powerhouse Books, 2019PIEKUT, Benjamin, “Indeterminacy, Free Improvisation, and the Mixed Avant-Garde: Experimental Music in London, 1965-1975”. Journal of the American Musicological Society, vol. 67, n.º 3 (2014), pp. 769-824*PRÉVOST, Edwin, “Free Improvisation in Music and Capitalism: Resisting Authority and the Cults of Scientism and Celebrity”. En: The Ashgate Research Companion to Experimental Music. Editado por James Saunders. Routledge, 2009*ROD, Johannes, Free Jazz and Improvisation on Vinyl, 1965-1985. Rune Grammofon, 2014SBORDONI, Alessandro et al., Free Improvisation: History and Perspectives. Libreria Musicale Italiana, 2018SALADIN, Matthieu, Esthétique de l'improvisation libre: expérimentation musicale et politique. Les Presses du Réel, 2014*SANSOM, Matthew, “Imaging Music: Abstract Expressionism and Free Improvisation”. Leonardo Music Journal, vol. 11 (2001), pp. 29-34*TOOP, David, En el maelström: música, improvisación y el sueño de la libertad antes de 1970. Caja Negra, 2018ZULIAN, Claudio, “La experiencia del colectivo de improvisación libre: músicas de vanguardia, free jazz y músicas alternativas”. En: Alter (músiques) natives. Generalitat de Catalunya, Departament de Cultura, 1995 *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

Featured Co-host: Francesca Royster Guest:Willa Taylor Francesca's Black Country Music: Listening for Revolutions and Choosing Family: The Shifting Image of an Icon are the newest books and are referenced later in this rundown, Francesca T. Royster is a Professor of the English at DePaul University in Chicago, and received her PhD from University of California, Berkeley in English Literature in 1995. At DePaul she teaches courses on African American Literature, Queer Writers of Color and Writing About Music. She's written scholarly work on Shakespeare, Black Lesbian Country music fans, Prince, and Fela Kuti on Broadway among other topics. Her recent special issue of the Journal of Popular Music Studies, on the futures of Country Music, Uncharted Country,” co-edited with Nadine Hubbs, won the 2021 Ruth Solie Award from the American Musicological Society. Her creative work has appeared in Feminist Studies, Slag Glass City, LA Review of Books, The Huffington Post, The Windy City Times, Chicago Literati and The Oxford American. Her books include Becoming Cleopatra: The Shifting Image of an Icon (Palgrave MacMillan, 2003), Sounding Like a No-No: Queer Sounds and Eccentric Acts in the Post-Soul Era (University of Michigan Press, 2013), Black Country Music: Listening for Revolutions (University of Texas Press, 2022), and Choosing Family: A Memoir of Queer Motherhood and Black Resistance (Abrams/ Overlook Press, 2023). Her book, Black Country Music: Listening for Revolutions was recently awarded the 2023 Ralph J. Gleason Music Book Award, from the Rock & Roll Hall of Fame, the 2023 ARSC Awards for Excellence in Historical Recorded Sound Research from the Association for Recorded Sound Collections and the 2023 Judy Tsou Critical Race Studies Award, from The American Musicological Society. Her newest book in process is Listening for My Mother: Travels in Music from Chicago to Bahia, a combination of memoir, travel writing and cultural history about mourning and healing in Women's Music in the Black Diaspora

Race and Gender in the Western Music History Survey: A Teacher's Guide provides concrete information and approaches that will help instructors include women and people of color in the typical music history survey course and the foundational music theory classes. This book provides a reconceptualization of the principles that shape the decisions instructors should make when crafting the syllabus. It offers new perspectives on canonical composers and pieces that take into account musical, cultural, and social contexts where women and people of color are present. Secondly, it suggests new topics of study and pieces by composers whose work fits into a more inclusive narrative of music history. A thematic approach parallels the traditional chronological sequencing in Western music history classes. Three themes include people and communities that suffer from various kinds of exclusion: Locales & Locations; Forms & Factions; Responses & Reception. Each theme is designed to uncover a different cultural facet that is often minimized in traditional music history classrooms but which, if explored, lead to topics in which other perspectives and people can be included organically in the curriculum, while not excluding canonical composers. Dr. Horace J. Maxile, Jr. is Associate Professor of Music Theory at Baylor University. His primary interests are the concert music of Black composers, music semiotics, and gospel music. His research has appeared in scholarly journals such as Perspectives of New Music, American Music, the Journal of the Society for American Music, and Black Music Research Journal. Dr. Kristen M. Turner is a Lecturer in the music and honors departments at North Carolina State University. Her work centers on issues of race, gender, and class in American popular culture at the turn of the twentieth cen­tury. Her research has appeared in collected editions and scholarly journals including the Journal of the American Musicological Society, the Journal of the Society for American Music, American Studies, and Musical Quarterly. Emily Ruth Allen (@emmyru91) holds a Ph.D. in musicology from Florida State University. Her current research is about parade musics in Mobile, Alabama's Carnival. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

Race and Gender in the Western Music History Survey: A Teacher's Guide provides concrete information and approaches that will help instructors include women and people of color in the typical music history survey course and the foundational music theory classes. This book provides a reconceptualization of the principles that shape the decisions instructors should make when crafting the syllabus. It offers new perspectives on canonical composers and pieces that take into account musical, cultural, and social contexts where women and people of color are present. Secondly, it suggests new topics of study and pieces by composers whose work fits into a more inclusive narrative of music history. A thematic approach parallels the traditional chronological sequencing in Western music history classes. Three themes include people and communities that suffer from various kinds of exclusion: Locales & Locations; Forms & Factions; Responses & Reception. Each theme is designed to uncover a different cultural facet that is often minimized in traditional music history classrooms but which, if explored, lead to topics in which other perspectives and people can be included organically in the curriculum, while not excluding canonical composers. Dr. Horace J. Maxile, Jr. is Associate Professor of Music Theory at Baylor University. His primary interests are the concert music of Black composers, music semiotics, and gospel music. His research has appeared in scholarly journals such as Perspectives of New Music, American Music, the Journal of the Society for American Music, and Black Music Research Journal. Dr. Kristen M. Turner is a Lecturer in the music and honors departments at North Carolina State University. Her work centers on issues of race, gender, and class in American popular culture at the turn of the twentieth cen­tury. Her research has appeared in collected editions and scholarly journals including the Journal of the American Musicological Society, the Journal of the Society for American Music, American Studies, and Musical Quarterly. Emily Ruth Allen (@emmyru91) holds a Ph.D. in musicology from Florida State University. Her current research is about parade musics in Mobile, Alabama's Carnival. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Race and Gender in the Western Music History Survey: A Teacher's Guide provides concrete information and approaches that will help instructors include women and people of color in the typical music history survey course and the foundational music theory classes. This book provides a reconceptualization of the principles that shape the decisions instructors should make when crafting the syllabus. It offers new perspectives on canonical composers and pieces that take into account musical, cultural, and social contexts where women and people of color are present. Secondly, it suggests new topics of study and pieces by composers whose work fits into a more inclusive narrative of music history. A thematic approach parallels the traditional chronological sequencing in Western music history classes. Three themes include people and communities that suffer from various kinds of exclusion: Locales & Locations; Forms & Factions; Responses & Reception. Each theme is designed to uncover a different cultural facet that is often minimized in traditional music history classrooms but which, if explored, lead to topics in which other perspectives and people can be included organically in the curriculum, while not excluding canonical composers. Dr. Horace J. Maxile, Jr. is Associate Professor of Music Theory at Baylor University. His primary interests are the concert music of Black composers, music semiotics, and gospel music. His research has appeared in scholarly journals such as Perspectives of New Music, American Music, the Journal of the Society for American Music, and Black Music Research Journal. Dr. Kristen M. Turner is a Lecturer in the music and honors departments at North Carolina State University. Her work centers on issues of race, gender, and class in American popular culture at the turn of the twentieth cen­tury. Her research has appeared in collected editions and scholarly journals including the Journal of the American Musicological Society, the Journal of the Society for American Music, American Studies, and Musical Quarterly. Emily Ruth Allen (@emmyru91) holds a Ph.D. in musicology from Florida State University. Her current research is about parade musics in Mobile, Alabama's Carnival. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

Race and Gender in the Western Music History Survey: A Teacher's Guide provides concrete information and approaches that will help instructors include women and people of color in the typical music history survey course and the foundational music theory classes. This book provides a reconceptualization of the principles that shape the decisions instructors should make when crafting the syllabus. It offers new perspectives on canonical composers and pieces that take into account musical, cultural, and social contexts where women and people of color are present. Secondly, it suggests new topics of study and pieces by composers whose work fits into a more inclusive narrative of music history. A thematic approach parallels the traditional chronological sequencing in Western music history classes. Three themes include people and communities that suffer from various kinds of exclusion: Locales & Locations; Forms & Factions; Responses & Reception. Each theme is designed to uncover a different cultural facet that is often minimized in traditional music history classrooms but which, if explored, lead to topics in which other perspectives and people can be included organically in the curriculum, while not excluding canonical composers. Dr. Horace J. Maxile, Jr. is Associate Professor of Music Theory at Baylor University. His primary interests are the concert music of Black composers, music semiotics, and gospel music. His research has appeared in scholarly journals such as Perspectives of New Music, American Music, the Journal of the Society for American Music, and Black Music Research Journal. Dr. Kristen M. Turner is a Lecturer in the music and honors departments at North Carolina State University. Her work centers on issues of race, gender, and class in American popular culture at the turn of the twentieth cen­tury. Her research has appeared in collected editions and scholarly journals including the Journal of the American Musicological Society, the Journal of the Society for American Music, American Studies, and Musical Quarterly. Emily Ruth Allen (@emmyru91) holds a Ph.D. in musicology from Florida State University. Her current research is about parade musics in Mobile, Alabama's Carnival. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

Race and Gender in the Western Music History Survey: A Teacher's Guide provides concrete information and approaches that will help instructors include women and people of color in the typical music history survey course and the foundational music theory classes. This book provides a reconceptualization of the principles that shape the decisions instructors should make when crafting the syllabus. It offers new perspectives on canonical composers and pieces that take into account musical, cultural, and social contexts where women and people of color are present. Secondly, it suggests new topics of study and pieces by composers whose work fits into a more inclusive narrative of music history. A thematic approach parallels the traditional chronological sequencing in Western music history classes. Three themes include people and communities that suffer from various kinds of exclusion: Locales & Locations; Forms & Factions; Responses & Reception. Each theme is designed to uncover a different cultural facet that is often minimized in traditional music history classrooms but which, if explored, lead to topics in which other perspectives and people can be included organically in the curriculum, while not excluding canonical composers. Dr. Horace J. Maxile, Jr. is Associate Professor of Music Theory at Baylor University. His primary interests are the concert music of Black composers, music semiotics, and gospel music. His research has appeared in scholarly journals such as Perspectives of New Music, American Music, the Journal of the Society for American Music, and Black Music Research Journal. Dr. Kristen M. Turner is a Lecturer in the music and honors departments at North Carolina State University. Her work centers on issues of race, gender, and class in American popular culture at the turn of the twentieth cen­tury. Her research has appeared in collected editions and scholarly journals including the Journal of the American Musicological Society, the Journal of the Society for American Music, American Studies, and Musical Quarterly. Emily Ruth Allen (@emmyru91) holds a Ph.D. in musicology from Florida State University. Her current research is about parade musics in Mobile, Alabama's Carnival. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Race and Gender in the Western Music History Survey: A Teacher's Guide provides concrete information and approaches that will help instructors include women and people of color in the typical music history survey course and the foundational music theory classes. This book provides a reconceptualization of the principles that shape the decisions instructors should make when crafting the syllabus. It offers new perspectives on canonical composers and pieces that take into account musical, cultural, and social contexts where women and people of color are present. Secondly, it suggests new topics of study and pieces by composers whose work fits into a more inclusive narrative of music history. A thematic approach parallels the traditional chronological sequencing in Western music history classes. Three themes include people and communities that suffer from various kinds of exclusion: Locales & Locations; Forms & Factions; Responses & Reception. Each theme is designed to uncover a different cultural facet that is often minimized in traditional music history classrooms but which, if explored, lead to topics in which other perspectives and people can be included organically in the curriculum, while not excluding canonical composers. Dr. Horace J. Maxile, Jr. is Associate Professor of Music Theory at Baylor University. His primary interests are the concert music of Black composers, music semiotics, and gospel music. His research has appeared in scholarly journals such as Perspectives of New Music, American Music, the Journal of the Society for American Music, and Black Music Research Journal. Dr. Kristen M. Turner is a Lecturer in the music and honors departments at North Carolina State University. Her work centers on issues of race, gender, and class in American popular culture at the turn of the twentieth cen­tury. Her research has appeared in collected editions and scholarly journals including the Journal of the American Musicological Society, the Journal of the Society for American Music, American Studies, and Musical Quarterly. Emily Ruth Allen (@emmyru91) holds a Ph.D. in musicology from Florida State University. Her current research is about parade musics in Mobile, Alabama's Carnival. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Race and Gender in the Western Music History Survey: A Teacher's Guide provides concrete information and approaches that will help instructors include women and people of color in the typical music history survey course and the foundational music theory classes. This book provides a reconceptualization of the principles that shape the decisions instructors should make when crafting the syllabus. It offers new perspectives on canonical composers and pieces that take into account musical, cultural, and social contexts where women and people of color are present. Secondly, it suggests new topics of study and pieces by composers whose work fits into a more inclusive narrative of music history. A thematic approach parallels the traditional chronological sequencing in Western music history classes. Three themes include people and communities that suffer from various kinds of exclusion: Locales & Locations; Forms & Factions; Responses & Reception. Each theme is designed to uncover a different cultural facet that is often minimized in traditional music history classrooms but which, if explored, lead to topics in which other perspectives and people can be included organically in the curriculum, while not excluding canonical composers. Dr. Horace J. Maxile, Jr. is Associate Professor of Music Theory at Baylor University. His primary interests are the concert music of Black composers, music semiotics, and gospel music. His research has appeared in scholarly journals such as Perspectives of New Music, American Music, the Journal of the Society for American Music, and Black Music Research Journal. Dr. Kristen M. Turner is a Lecturer in the music and honors departments at North Carolina State University. Her work centers on issues of race, gender, and class in American popular culture at the turn of the twentieth cen­tury. Her research has appeared in collected editions and scholarly journals including the Journal of the American Musicological Society, the Journal of the Society for American Music, American Studies, and Musical Quarterly. Emily Ruth Allen (@emmyru91) holds a Ph.D. in musicology from Florida State University. Her current research is about parade musics in Mobile, Alabama's Carnival. Learn more about your ad choices. Visit megaphone.fm/adchoices

Race and Gender in the Western Music History Survey: A Teacher's Guide provides concrete information and approaches that will help instructors include women and people of color in the typical music history survey course and the foundational music theory classes. This book provides a reconceptualization of the principles that shape the decisions instructors should make when crafting the syllabus. It offers new perspectives on canonical composers and pieces that take into account musical, cultural, and social contexts where women and people of color are present. Secondly, it suggests new topics of study and pieces by composers whose work fits into a more inclusive narrative of music history. A thematic approach parallels the traditional chronological sequencing in Western music history classes. Three themes include people and communities that suffer from various kinds of exclusion: Locales & Locations; Forms & Factions; Responses & Reception. Each theme is designed to uncover a different cultural facet that is often minimized in traditional music history classrooms but which, if explored, lead to topics in which other perspectives and people can be included organically in the curriculum, while not excluding canonical composers. Dr. Horace J. Maxile, Jr. is Associate Professor of Music Theory at Baylor University. His primary interests are the concert music of Black composers, music semiotics, and gospel music. His research has appeared in scholarly journals such as Perspectives of New Music, American Music, the Journal of the Society for American Music, and Black Music Research Journal. Dr. Kristen M. Turner is a Lecturer in the music and honors departments at North Carolina State University. Her work centers on issues of race, gender, and class in American popular culture at the turn of the twentieth cen­tury. Her research has appeared in collected editions and scholarly journals including the Journal of the American Musicological Society, the Journal of the Society for American Music, American Studies, and Musical Quarterly. Emily Ruth Allen (@emmyru91) holds a Ph.D. in musicology from Florida State University. Her current research is about parade musics in Mobile, Alabama's Carnival. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/education

En 1945 apenas quedan las ruinas de esta ciudad alemana. Quizás por ello es el lugar adecuado para recuperar, desde sus cenizas, la expresión de potencia y relevancia de la música que, durante una larga década, ha soportado la represión censora del régimen nazi._____Has escuchadoDarmstadt Aural Documents, Box 1, Composers-Conductors. Concerto per pianoforte e orchestra (1959) / Bruno Maderna. David Tudor, piano; Frankfurt Radio Symphony Orchestra; Bruno Maderna, director. NEOS (2010)Darmstadt Aural Documents, Box 1, Composers-Conductors. Continuo (1974) / Ernstalbrecht Stiebler. Hans Deinzer, clarinete; Klaus Thunemann, fagot; Kurt Schwertsik, trompa; Armin Rosin, trombón; Hubert Mayer, viola; Gaby Schumacher, violonchelo; Ernstalbrecht Stiebler, director. NEOS (2010)Darmstadt Aural Documents, Box 4, Pianists. Enchiridion 2. Teil “Exerzitien”. Ostinato / Bern Alois Zimmermann. Yvonne Loriod, piano. NEOS (2016)Darmstadt Aural Documents, Box 4, Pianists. Identikit (divertimento) for Five Pianists (at One Piano) and Tapes (1974) / Christina Kubisch. David Arden, Marek Mietelski, Davide Mosconi, Carlos Pellegrino, Werner Füsser, piano. NEOS (2016)Darmstadt Aural Documents, Box 4, Pianists. Klavierstück XI (1956) / Karlheinz Stockhausen. Intérpretes: David Tudor, piano. NEOS (2016)Darmstadt Aural Documents, Box 4, Pianists. Passacaglia (1936) / Stefan Wolpe. David Tudor, piano. NEOS (2016)_____ Selección bibliográficaBEAL, Amy C., “Negotiating Cultural Allies: American Music in Darmstadt, 1946-1956”. Journal of the American Musicological Society, vol. 53, n.º 1 (2000), pp. 105-139*CÉLESTIN, Deliège, Cinquante ans de modernité musicale: de Darmstadt à l'IRCAM: contribution historiographique à une musicologie critique. Mardaga, 2003*ERWIN, Max, Herbert Eimert and the Darmstadt School: The Consolidation of the Avant-Garde. Cambridge University Press, 2020FOX, Christopher, “British Music at Darmstadt 1982-92”. Tempo, n.º 186 (1993), pp. 21-25*IDDON, Martin, “Darmstadt Schools: Darmstadt as a plural phenomenon”. Tempo, vol. 65, n.º 256 (2011), pp. 2-8*—, New Music at Darmstadt: Nono, Stockhausen, Cage and Boulez. Cambridge University Press, 2013*—, “Spectres of Darmstadt”. Tempo, vol. 67, n.º 263 (2013), pp. 60-67*IVERSON, Jennifer, “Statistical Form amongst the Darmstadt School”. Music Analysis, vol. 33, n.º 3 (2014), pp. 341-387*JONES, Stephanie, “Darmstadt: the ‘Artistic Laboratory'”. Tempo, vol. 69, n.º 271 (2015), pp. 66-68*ORAM, Celeste, “Darmstadt's New Wave Modernism”. Tempo, vol. 69, n.º 271 (2015), pp. 57-65*ROSS, Alex, El ruido eterno. Seix Barral, 2009*WILLIAMS, Alastair, “New Music, Late Style: Adorno's ‘Form in the New Music'”. Music Analysis, vol. 27, n.º 2-3 (2008), pp. 193-199ZUPKO, Ramon, “Darmstadt. New Directions”. Perspectives of New Music, vol. 2, n.º 2 (1964), pp. 166-169* *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

In this session, we explore what Playford's publishing activities can tell us about how music was incorporated into different social environments in seventeenth-century English society and the role music played in peoples lives. Although The Dancing Master was one of John Playford's best-known and most widely distributed publications, it belonged within a music-publishing portfolio that provides something of a snapshot of the breadth of music-making activities in which people from different parts of society participated in the Commonwealth and Restoration periods. In this session, we explore what Playford's publishing activities can tell us about how music was incorporated into different social environments in seventeenth-century English society, from the tavern to the concert room to the royal court, and what the writings of people known to have used his books, such as Samuel Pepys, tell us about the role music played in their lives. Rebecca Herissone is Professor of Musicology at the University of Manchester and a Fellow of the British Academy. Her research focuses on the musical cultures of early modern England, particularly issues of creativity, reception and manuscript and print cultures, which has led her to work extensively on the publishing activities of John and Henry Playford, Thomas Cross and John Walsh, and to consider the complex relationships between musical notation and performance in the period. She has written three monographs, most recently Musical Creativity in Restoration England (awarded the Diana McVeagh Prize by NABMSA in 2015), and has had articles published in journals including the Journal of the American Musicological Society, Musical Quarterly, Journal of Musicology, Music & Letters, and the Journal of the Royal Musical Association. She co-edited Music & Letters from 2007–19 and is now a Vice-President of the Royal Musical Association, Chair of the Musica Britannica Editorial Committee, Series Co-Editor of Cambridge Elements in Music, 1600–1750, a General Editor of the Works of John Eccles, and a member of the Editorial Boards of the Purcell Society and Music & Letters. Her current research focuses on Purcell's reception, particularly the material traces we can uncover of the small network of individuals who preserved, performed and transformed his music in the 18th and 19th centuries. Alice Little is a Research Fellow at the Bate Collection of Musical Instruments, part of the Music Faculty of the University of Oxford. Her research focuses on collectors and collecting, particularly eighteenth-century tunebooks and their compilers, looking at what sources the collections were gathered from and what the selection of music says about the people and cultures that collected and used them.

The first episode of Season 2 of The Sounding Jewish Podcast features Dr. Anna Schultz. We discuss her ethnographic fieldwork with the Bene Israel Jewish communities of India and Israel.Anna Schultz is Associate Professor of Music at the University of Chicago, where she is also an associate member of the Department of South Asian Languages and Civilizations and a member of the Greenberg Center for Jewish Studies. The core issue animating her research in India and beyond is music's power to activate profound religious experiences that in turn shape other identities. She explores nationalism in Western Indian Hindu temple performance, gendered translation in Indian Jewish song, diasporic longing in Indo-Caribbean American Hinduism, and rural-urban collisions in the devotional songs of an Indian classical singer. More recently, she has begun turning her attention toward issues of race and migration in American popular musics. Her first book, Singing a Hindu Nation: Marathi Devotional Performance and Nationalism, was published by Oxford University Press in 2013, and her second book, Songs of Translation: Bene Israel Gender and Textual Orality, is also under contract with OUP. With Sumanth Gopinath, she was awarded the H. Colin Slim Award by the American Musicological Society for the article, "Sentimental Remembrance and the Amusements of Forgetting in Karl and Harty's "Kentucky."" Dr. Schultz's research has been supported by fellowships from Fulbright-Hays, the American Council of Learned Societies, the American Association of University Women, the Hellman Foundation, the Hadassah-Brandeis Institute, the University of Illinois, and Stanford University.

The sixth episode of the Sounding Jewish podcast features Dr. Amanda Ruppenthal Stein. We discuss her ongoing study of Jewish identity in the art music of 19th century German speaking Europe, as well as her recent trip with the Cantor's Assembly to visit the Abayudaya Jewish Community of Uganda.Musicologist Amanda Ruppenthal Stein, Ph.D. is a lecturer in music at Carroll University in Waukesha, Wisconsin and at the University of Wisconsin-Milwaukee. She is a 2021 graduate of the Bienen School of Music at Northwestern University, where she was also the Crown Graduate Fellow for the Crown Center for Jewish and Israel Studies. Amanda's dissertation, Sounding Judentum: Assimilation, Art Music, and Being Jewish Musically in 19th Century German-Speaking Europe focused on how art musicians approached Jewish identity, assimilation, and acculturation through sonic expression, relationships, and writing. In 2019, Amanda traveled twice to Uganda, conducting fieldwork in collaboration with a solidarity mission and recording project of Cantors Assembly, celebrating 100 Years of the Abayudaya Jewish community in Uganda. She is a board member of the Jewish Studies and Music Study Group of the American Musicological Society and has presented at many regional and national conferences in music and Jewish Studies.

Inicialmente desarrollado a partir de la tradición de la contradanza europea, el danzón surgió como un género distinto de baile y de música entre los ejecutantes negros en Cuba del siglo XIX. A principios del siglo XX, su popularidad se extendió de manera sorprendente por todo el Golfo de México y la cuenca del Caribe. Un complejo de música fundamentalmente híbrida, refleja la fusión de elementos europeos y africanos, teniendo una influencia marcada en el desarrollo de otros bailes latinos y comparte muchos elementos estilísticos en común con el jazz temprano de Nueva Orleans. Danzón. Diálogos de música y baile por la cuenca del Caribe estudia la aparición, la influencia de alcance hemisférico y la importancia histórica y contemporánea de este género. Alejandro L. Madrid y Robin D. Moore emplean un enfoque multidisciplinario a los procesos de apropiación del danzón en nuevos contextos, sus cambios de significado a través del tiempo, y su relación con otros géneros musicales. Exploran, además, su larga historia de popularización y controversia, su desarrollo estilístico, su glorificación en los discursos nacionales y posterior renacimiento en un proceso continuo de diálogo transnacional entre Cuba y México, al igual que con Nueva Orleans. De igual manera, consideran la producción y transformación de este “complejo de performance” afrodiaspórico en relación con los discursos ideológicos globales y locales. Enfocándose en las interacciones a través de la región como en escenas específicas, Madrid y Moore subrayan el alcance del intercambio cultural en las Américas. De esa forma, analizan el danzón y los varios discursos de identificación alrededor de él como elementos en procesos regionales más amplios. Danzón representa un aporte significativo a la literatura sobre la música, el baile, y la cultura expresiva latinoamericanas. Ha ganado premios de la American Musicological Society y la ASCAP. Será una fuente imprescindible de consulta para investigadores, alumnos y aficionados. Presenta María Alejandra De Ávila López, doctora en Etnomusicología por el Programa de Maestría y Doctorado en Música de la Universidad Nacional Autónoma de México. Learn more about your ad choices. Visit megaphone.fm/adchoices

Inicialmente desarrollado a partir de la tradición de la contradanza europea, el danzón surgió como un género distinto de baile y de música entre los ejecutantes negros en Cuba del siglo XIX. A principios del siglo XX, su popularidad se extendió de manera sorprendente por todo el Golfo de México y la cuenca del Caribe. Un complejo de música fundamentalmente híbrida, refleja la fusión de elementos europeos y africanos, teniendo una influencia marcada en el desarrollo de otros bailes latinos y comparte muchos elementos estilísticos en común con el jazz temprano de Nueva Orleans. Danzón. Diálogos de música y baile por la cuenca del Caribe estudia la aparición, la influencia de alcance hemisférico y la importancia histórica y contemporánea de este género. Alejandro L. Madrid y Robin D. Moore emplean un enfoque multidisciplinario a los procesos de apropiación del danzón en nuevos contextos, sus cambios de significado a través del tiempo, y su relación con otros géneros musicales. Exploran, además, su larga historia de popularización y controversia, su desarrollo estilístico, su glorificación en los discursos nacionales y posterior renacimiento en un proceso continuo de diálogo transnacional entre Cuba y México, al igual que con Nueva Orleans. De igual manera, consideran la producción y transformación de este “complejo de performance” afrodiaspórico en relación con los discursos ideológicos globales y locales. Enfocándose en las interacciones a través de la región como en escenas específicas, Madrid y Moore subrayan el alcance del intercambio cultural en las Américas. De esa forma, analizan el danzón y los varios discursos de identificación alrededor de él como elementos en procesos regionales más amplios. Danzón representa un aporte significativo a la literatura sobre la música, el baile, y la cultura expresiva latinoamericanas. Ha ganado premios de la American Musicological Society y la ASCAP. Será una fuente imprescindible de consulta para investigadores, alumnos y aficionados. Presenta María Alejandra De Ávila López, doctora en Etnomusicología por el Programa de Maestría y Doctorado en Música de la Universidad Nacional Autónoma de México. Learn more about your ad choices. Visit megaphone.fm/adchoices

Inicialmente desarrollado a partir de la tradición de la contradanza europea, el danzón surgió como un género distinto de baile y de música entre los ejecutantes negros en Cuba del siglo XIX. A principios del siglo XX, su popularidad se extendió de manera sorprendente por todo el Golfo de México y la cuenca del Caribe. Un complejo de música fundamentalmente híbrida, refleja la fusión de elementos europeos y africanos, teniendo una influencia marcada en el desarrollo de otros bailes latinos y comparte muchos elementos estilísticos en común con el jazz temprano de Nueva Orleans. Danzón. Diálogos de música y baile por la cuenca del Caribe estudia la aparición, la influencia de alcance hemisférico y la importancia histórica y contemporánea de este género. Alejandro L. Madrid y Robin D. Moore emplean un enfoque multidisciplinario a los procesos de apropiación del danzón en nuevos contextos, sus cambios de significado a través del tiempo, y su relación con otros géneros musicales. Exploran, además, su larga historia de popularización y controversia, su desarrollo estilístico, su glorificación en los discursos nacionales y posterior renacimiento en un proceso continuo de diálogo transnacional entre Cuba y México, al igual que con Nueva Orleans. De igual manera, consideran la producción y transformación de este “complejo de performance” afrodiaspórico en relación con los discursos ideológicos globales y locales. Enfocándose en las interacciones a través de la región como en escenas específicas, Madrid y Moore subrayan el alcance del intercambio cultural en las Américas. De esa forma, analizan el danzón y los varios discursos de identificación alrededor de él como elementos en procesos regionales más amplios. Danzón representa un aporte significativo a la literatura sobre la música, el baile, y la cultura expresiva latinoamericanas. Ha ganado premios de la American Musicological Society y la ASCAP. Será una fuente imprescindible de consulta para investigadores, alumnos y aficionados. Presenta María Alejandra De Ávila López, doctora en Etnomusicología por el Programa de Maestría y Doctorado en Música de la Universidad Nacional Autónoma de México. Learn more about your ad choices. Visit megaphone.fm/adchoices

Inicialmente desarrollado a partir de la tradición de la contradanza europea, el danzón surgió como un género distinto de baile y de música entre los ejecutantes negros en Cuba del siglo XIX. A principios del siglo XX, su popularidad se extendió de manera sorprendente por todo el Golfo de México y la cuenca del Caribe. Un complejo de música fundamentalmente híbrida, refleja la fusión de elementos europeos y africanos, teniendo una influencia marcada en el desarrollo de otros bailes latinos y comparte muchos elementos estilísticos en común con el jazz temprano de Nueva Orleans. Danzón. Diálogos de música y baile por la cuenca del Caribe estudia la aparición, la influencia de alcance hemisférico y la importancia histórica y contemporánea de este género. Alejandro L. Madrid y Robin D. Moore emplean un enfoque multidisciplinario a los procesos de apropiación del danzón en nuevos contextos, sus cambios de significado a través del tiempo, y su relación con otros géneros musicales. Exploran, además, su larga historia de popularización y controversia, su desarrollo estilístico, su glorificación en los discursos nacionales y posterior renacimiento en un proceso continuo de diálogo transnacional entre Cuba y México, al igual que con Nueva Orleans. De igual manera, consideran la producción y transformación de este “complejo de performance” afrodiaspórico en relación con los discursos ideológicos globales y locales. Enfocándose en las interacciones a través de la región como en escenas específicas, Madrid y Moore subrayan el alcance del intercambio cultural en las Américas. De esa forma, analizan el danzón y los varios discursos de identificación alrededor de él como elementos en procesos regionales más amplios. Danzón representa un aporte significativo a la literatura sobre la música, el baile, y la cultura expresiva latinoamericanas. Ha ganado premios de la American Musicological Society y la ASCAP. Será una fuente imprescindible de consulta para investigadores, alumnos y aficionados. Presenta María Alejandra De Ávila López, doctora en Etnomusicología por el Programa de Maestría y Doctorado en Música de la Universidad Nacional Autónoma de México. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode we discuss why Marxism in our current moment has a new lease on life?   Stephan Hammel's work is focused on developing a historical materialist framework for the study of music. His research encompasses the history of Marxist approaches to the subject—both “Western” and “Eastern” variants—as well as the role of music in the communist movement. In addition, he harbors an interest in musical modernism in Latin America, especially as it relates to Left politics. Both agitator and educator, he frequently gives talks on political education. He has delivered papers at Left Forum, Historical Materialism, the American Society for Aesthetics, and the American Musicological Society.   I.G. @TheGambian @CtayJ   Twitter: @MomodouTaal @Ctayj

This second part of the story of Irving Berlin's life picks up after WWI, and covers his family life, his rise to fame, and the controversies that were part of his career. Research: Bergreen, Laurence. “Irving Berlin: This Is the Army.” Prologue. Summer 1996, Vol. 28, No. 2 https://www.archives.gov/publications/prologue/1996/summer/irving-berlin-1 Carlson, Olivia. “What's White Christmas without Minstrelsy?” Music 345: Race, Identity, and Representation in American Music. Student Blogs and Library Exhibit Companion. https://pages.stolaf.edu/americanmusic/2021/10/25/whats-white-christmas-without-minstrelsy/ CBS Sunday Morning. “American songsmith Irving Berlin.” Via YouTube. https://www.youtube.com/watch?v=DV9uq8z2k5E Greten, Paula Anne. “Irving Berlin.” American History. August 2006. Hamm, Charles. “Irving Berlin -- Songs from the Melting Pot: The Formative Years, 1907-1914.” Oxford University Press. Via New York Times. https://archive.nytimes.com/www.nytimes.com/books/first/h/hamm-berlin.html Hamm, Charles. “Alexander and His Band.” American Music , Spring, 1996, Vol. 14, No. 1 (Spring, 1996). Via JSTOR. https://www.jstor.org/stable/3052459 Hyland, William G. “The Best Songwriter Of Them All.” Commentary. October 1990. "Irving Berlin." St. James Encyclopedia of Popular Culture Online, Gale, 2013. Gale In Context: U.S. History, link.gale.com/apps/doc/K2419200098/GPS?u=mlin_n_melpub&sid=bookmark-GPS&xid=be3b3028. Accessed 16 Nov. 2022. Jewish Lives. “Irving Berlin.” Podcast. Episode 4. 11/18/2019. Jewish Virtual Library. “Irving Berlin.” https://www.jewishvirtuallibrary.org/irving-berlin Judaism Unbound. “Bonus Episode: Irving Berlin – Judah Cohen (American Jewish History #5).” Podcast. Episode 248, October 2 2019. Kaplan, James. “Irving Berlin: New York Genius.” Yale University Press. 2019. Kennedy Center. “This Land is Your Land: The story behind the song.” https://www.kennedy-center.org/education/resources-for-educators/classroom-resources/media-and-interactives/media/music/story-behind-the-song/the-story-behind-the-song/this-land-is-your-land/ Magee, Jeffrey. "'Everybody Step': Irving Berlin, jazz, and Broadway in the 1920s." Journal of the American Musicological Society, vol. 59, no. 3, fall 2006, pp. 697+. Gale General OneFile, link.gale.com/apps/doc/A157180372/GPS?u=mlin_n_melpub&sid=bookmark-GPS&xid=07c374cd. Accessed 16 Nov. 2022. Markel, Howard. “How Irving Berlin's blue skies turned to blue days.” PBS NewsHour. 9/24/2021. https://www.pbs.org/newshour/health/how-irving-berlins-blue-skies-turned-to-blue-days Maslon, Laurence. “Overture.” (And following pages) The Irving Berlin Music Company. https://www.irvingberlin.com/overture Schiff, David. “For Everyman, By Everyman.” The Atlantic Monthly. March 1996. Spitzer, Nick. “The Story Of Woody Guthrie's 'This Land Is Your Land'.” NPR. 2/15/2012. https://www.npr.org/2000/07/03/1076186/this-land-is-your-land The Irving Berlin Music Company. “Irving Berlin.” https://static1.squarespace.com/static/57d1974abe6594a72075321b/t/5a5f673eec212d2269841cf4/1516201791369/Irving+Berlin+-+official+biography.pdf White, Timothy. “Irving Berlin Knew Pop Music's Power.” Billboard. Vol. 111, Issue 21. 5/22/1999. Twentieth Century-Fox Film Corp. v. Dieckhaus, 153 F.2d 893, 898 (8th Cir. 1946) https://casetext.com/case/twentieth-century-fox-film-corp-v-dieckhaus Bornstein, George. "Say it with music." TLS. Times Literary Supplement, no. 5698, 15 June 2012, p. 9. Gale Literature Resource Center, link.gale.com/apps/doc/A667239228/LitRC?u=mlin_oweb&sid=googleScholar&xid=7d90f5a8. Accessed 2 Dec. 2022. See omnystudio.com/listener for privacy information.

The immeasurably famous Irving Berlin seems like the perfect example of a U.S. immigrant success story. But reality is complicated and imperfect, and so was Berlin's music-filled life. Research: Bergreen, Laurence. “Irving Berlin: This Is the Army.” Prologue. Summer 1996, Vol. 28, No. 2 https://www.archives.gov/publications/prologue/1996/summer/irving-berlin-1 Carlson, Olivia. “What's White Christmas without Minstrelsy?” Music 345: Race, Identity, and Representation in American Music. Student Blogs and Library Exhibit Companion. https://pages.stolaf.edu/americanmusic/2021/10/25/whats-white-christmas-without-minstrelsy/ CBS Sunday Morning. “American songsmith Irving Berlin.” Via YouTube. https://www.youtube.com/watch?v=DV9uq8z2k5E Greten, Paula Anne. “Irving Berlin.” American History. August 2006. Hamm, Charles. “Irving Berlin -- Songs from the Melting Pot: The Formative Years, 1907-1914.” Oxford University Press. Via New York Times. https://archive.nytimes.com/www.nytimes.com/books/first/h/hamm-berlin.html Hamm, Charles. “Alexander and His Band.” American Music , Spring, 1996, Vol. 14, No. 1 (Spring, 1996). Via JSTOR. https://www.jstor.org/stable/3052459 Hyland, William G. “The Best Songwriter Of Them All.” Commentary. October 1990. "Irving Berlin." St. James Encyclopedia of Popular Culture Online, Gale, 2013. Gale In Context: U.S. History, link.gale.com/apps/doc/K2419200098/GPS?u=mlin_n_melpub&sid=bookmark-GPS&xid=be3b3028. Accessed 16 Nov. 2022. Jewish Lives. “Irving Berlin.” Podcast. Episode 4. 11/18/2019. Jewish Virtual Library. “Irving Berlin.” https://www.jewishvirtuallibrary.org/irving-berlin Judaism Unbound. “Bonus Episode: Irving Berlin – Judah Cohen (American Jewish History #5).” Podcast. Episode 248, October 2 2019. Kaplan, James. “Irving Berlin: New York Genius.” Yale University Press. 2019. Kennedy Center. “This Land is Your Land: The story behind the song.” https://www.kennedy-center.org/education/resources-for-educators/classroom-resources/media-and-interactives/media/music/story-behind-the-song/the-story-behind-the-song/this-land-is-your-land/ Magee, Jeffrey. "'Everybody Step': Irving Berlin, jazz, and Broadway in the 1920s." Journal of the American Musicological Society, vol. 59, no. 3, fall 2006, pp. 697+. Gale General OneFile, link.gale.com/apps/doc/A157180372/GPS?u=mlin_n_melpub&sid=bookmark-GPS&xid=07c374cd. Accessed 16 Nov. 2022. Markel, Howard. “How Irving Berlin's blue skies turned to blue days.” PBS NewsHour. 9/24/2021. https://www.pbs.org/newshour/health/how-irving-berlins-blue-skies-turned-to-blue-days Maslon, Laurence. “Overture.” (And following pages) The Irving Berlin Music Company. https://www.irvingberlin.com/overture Schiff, David. “For Everyman, By Everyman.” The Atlantic Monthly. March 1996. Spitzer, Nick. “The Story Of Woody Guthrie's 'This Land Is Your Land'.” NPR. 2/15/2012. https://www.npr.org/2000/07/03/1076186/this-land-is-your-land The Irving Berlin Music Company. “Irving Berlin.” https://static1.squarespace.com/static/57d1974abe6594a72075321b/t/5a5f673eec212d2269841cf4/1516201791369/Irving+Berlin+-+official+biography.pdf White, Timothy. “Irving Berlin Knew Pop Music's Power.” Billboard. Vol. 111, Issue 21. 5/22/1999. Twentieth Century-Fox Film Corp. v. Dieckhaus, 153 F.2d 893, 898 (8th Cir. 1946) https://casetext.com/case/twentieth-century-fox-film-corp-v-dieckhaus Bornstein, George. "Say it with music." TLS. Times Literary Supplement, no. 5698, 15 June 2012, p. 9. Gale Literature Resource Center, link.gale.com/apps/doc/A667239228/LitRC?u=mlin_oweb&sid=googleScholar&xid=7d90f5a8. Accessed 2 Dec. 2022. See omnystudio.com/listener for privacy information.

The Music of the United States of America Series of musical editions is a monumental undertaking funded by the National Endowment for the Humanities with financial and organizational support from the University of Michigan, the American Musicological Society, the Society of American Music, and A-R Editions. The aim of the MUSA series, as it is called, is to provide expertly researched and edited scores of music from a wide variety of musical traditions performed in the United States. The thirty-second volume of the MUSA series is An American Singing Heritage: Songs from the British-Irish-American Oral Tradition as Recorded in the Early Twentieth Century published by A-R Editions in 2021 and edited by the Anne Dhu McLucas, Norm Cohen, and Carson Cohen. Dr. McLucas passed away before the edition was completed and Carson stepped in to complete the project with his father Norm. This collection of one hundred songs is a record of a fundamental repertoire in American music. Brought to this country by colonists, the folk songs became one of the foundations of the genre that early record executives called hillbilly music which was eventually rebranded as country music.  Each entry has extensive notes explaining the piece's background and text, information about the recording used for the musical transcription, and a list of secondary sources that discuss the song. An American Singing Heritage required the editors to sift through thousands of recordings and songs to pick a representative sample of this large and fascinating repertoire. The editors selected sources for transcriptions in a broad range of singing styles and representing many regions of the United States. The selections attempt to avoid the biases of previous collections and provide a fresh group of examples, many heretofore unseen in print. The sources for the transcriptions are recordings of traditional musicians from the 1920s through the early 1940s drawn from commercial recordings of "hillbilly" musicians, and field recordings in the collection of the Library of Congress's Archive of American Folk Song, now part of the Archive of Folk Culture. The American Musicological Society awarded the collection the 2022 Claude V. Palisca Award for an Outstanding Edition. Kristen M. Turner is a lecturer in the music and honors departments at North Carolina State University. Her research centers on race and class in American popular entertainment at the turn of the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The Music of the United States of America Series of musical editions is a monumental undertaking funded by the National Endowment for the Humanities with financial and organizational support from the University of Michigan, the American Musicological Society, the Society of American Music, and A-R Editions. The aim of the MUSA series, as it is called, is to provide expertly researched and edited scores of music from a wide variety of musical traditions performed in the United States. The thirty-second volume of the MUSA series is An American Singing Heritage: Songs from the British-Irish-American Oral Tradition as Recorded in the Early Twentieth Century published by A-R Editions in 2021 and edited by the Anne Dhu McLucas, Norm Cohen, and Carson Cohen. Dr. McLucas passed away before the edition was completed and Carson stepped in to complete the project with his father Norm. This collection of one hundred songs is a record of a fundamental repertoire in American music. Brought to this country by colonists, the folk songs became one of the foundations of the genre that early record executives called hillbilly music which was eventually rebranded as country music.  Each entry has extensive notes explaining the piece's background and text, information about the recording used for the musical transcription, and a list of secondary sources that discuss the song. An American Singing Heritage required the editors to sift through thousands of recordings and songs to pick a representative sample of this large and fascinating repertoire. The editors selected sources for transcriptions in a broad range of singing styles and representing many regions of the United States. The selections attempt to avoid the biases of previous collections and provide a fresh group of examples, many heretofore unseen in print. The sources for the transcriptions are recordings of traditional musicians from the 1920s through the early 1940s drawn from commercial recordings of "hillbilly" musicians, and field recordings in the collection of the Library of Congress's Archive of American Folk Song, now part of the Archive of Folk Culture. The American Musicological Society awarded the collection the 2022 Claude V. Palisca Award for an Outstanding Edition. Kristen M. Turner is a lecturer in the music and honors departments at North Carolina State University. Her research centers on race and class in American popular entertainment at the turn of the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/folkore

The Music of the United States of America Series of musical editions is a monumental undertaking funded by the National Endowment for the Humanities with financial and organizational support from the University of Michigan, the American Musicological Society, the Society of American Music, and A-R Editions. The aim of the MUSA series, as it is called, is to provide expertly researched and edited scores of music from a wide variety of musical traditions performed in the United States. The thirty-second volume of the MUSA series is An American Singing Heritage: Songs from the British-Irish-American Oral Tradition as Recorded in the Early Twentieth Century published by A-R Editions in 2021 and edited by the Anne Dhu McLucas, Norm Cohen, and Carson Cohen. Dr. McLucas passed away before the edition was completed and Carson stepped in to complete the project with his father Norm. This collection of one hundred songs is a record of a fundamental repertoire in American music. Brought to this country by colonists, the folk songs became one of the foundations of the genre that early record executives called hillbilly music which was eventually rebranded as country music.  Each entry has extensive notes explaining the piece's background and text, information about the recording used for the musical transcription, and a list of secondary sources that discuss the song. An American Singing Heritage required the editors to sift through thousands of recordings and songs to pick a representative sample of this large and fascinating repertoire. The editors selected sources for transcriptions in a broad range of singing styles and representing many regions of the United States. The selections attempt to avoid the biases of previous collections and provide a fresh group of examples, many heretofore unseen in print. The sources for the transcriptions are recordings of traditional musicians from the 1920s through the early 1940s drawn from commercial recordings of "hillbilly" musicians, and field recordings in the collection of the Library of Congress's Archive of American Folk Song, now part of the Archive of Folk Culture. The American Musicological Society awarded the collection the 2022 Claude V. Palisca Award for an Outstanding Edition. Kristen M. Turner is a lecturer in the music and honors departments at North Carolina State University. Her research centers on race and class in American popular entertainment at the turn of the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

The Music of the United States of America Series of musical editions is a monumental undertaking funded by the National Endowment for the Humanities with financial and organizational support from the University of Michigan, the American Musicological Society, the Society of American Music, and A-R Editions. The aim of the MUSA series, as it is called, is to provide expertly researched and edited scores of music from a wide variety of musical traditions performed in the United States. The thirty-second volume of the MUSA series is An American Singing Heritage: Songs from the British-Irish-American Oral Tradition as Recorded in the Early Twentieth Century published by A-R Editions in 2021 and edited by the Anne Dhu McLucas, Norm Cohen, and Carson Cohen. Dr. McLucas passed away before the edition was completed and Carson stepped in to complete the project with his father Norm. This collection of one hundred songs is a record of a fundamental repertoire in American music. Brought to this country by colonists, the folk songs became one of the foundations of the genre that early record executives called hillbilly music which was eventually rebranded as country music.  Each entry has extensive notes explaining the piece's background and text, information about the recording used for the musical transcription, and a list of secondary sources that discuss the song. An American Singing Heritage required the editors to sift through thousands of recordings and songs to pick a representative sample of this large and fascinating repertoire. The editors selected sources for transcriptions in a broad range of singing styles and representing many regions of the United States. The selections attempt to avoid the biases of previous collections and provide a fresh group of examples, many heretofore unseen in print. The sources for the transcriptions are recordings of traditional musicians from the 1920s through the early 1940s drawn from commercial recordings of "hillbilly" musicians, and field recordings in the collection of the Library of Congress's Archive of American Folk Song, now part of the Archive of Folk Culture. The American Musicological Society awarded the collection the 2022 Claude V. Palisca Award for an Outstanding Edition. Kristen M. Turner is a lecturer in the music and honors departments at North Carolina State University. Her research centers on race and class in American popular entertainment at the turn of the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

The Music of the United States of America Series of musical editions is a monumental undertaking funded by the National Endowment for the Humanities with financial and organizational support from the University of Michigan, the American Musicological Society, the Society of American Music, and A-R Editions. The aim of the MUSA series, as it is called, is to provide expertly researched and edited scores of music from a wide variety of musical traditions performed in the United States. The thirty-second volume of the MUSA series is An American Singing Heritage: Songs from the British-Irish-American Oral Tradition as Recorded in the Early Twentieth Century published by A-R Editions in 2021 and edited by the Anne Dhu McLucas, Norm Cohen, and Carson Cohen. Dr. McLucas passed away before the edition was completed and Carson stepped in to complete the project with his father Norm. This collection of one hundred songs is a record of a fundamental repertoire in American music. Brought to this country by colonists, the folk songs became one of the foundations of the genre that early record executives called hillbilly music which was eventually rebranded as country music.  Each entry has extensive notes explaining the piece's background and text, information about the recording used for the musical transcription, and a list of secondary sources that discuss the song. An American Singing Heritage required the editors to sift through thousands of recordings and songs to pick a representative sample of this large and fascinating repertoire. The editors selected sources for transcriptions in a broad range of singing styles and representing many regions of the United States. The selections attempt to avoid the biases of previous collections and provide a fresh group of examples, many heretofore unseen in print. The sources for the transcriptions are recordings of traditional musicians from the 1920s through the early 1940s drawn from commercial recordings of "hillbilly" musicians, and field recordings in the collection of the Library of Congress's Archive of American Folk Song, now part of the Archive of Folk Culture. The American Musicological Society awarded the collection the 2022 Claude V. Palisca Award for an Outstanding Edition. Kristen M. Turner is a lecturer in the music and honors departments at North Carolina State University. Her research centers on race and class in American popular entertainment at the turn of the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-south

Bruce Holsinger's novel The Displacements (Riverhead Books, 2022) is a gripping saga about what might happen in a world in which climate change can wreak havoc on life, even for those who have everything. Just before the world's first category 6 hurricane hits the ground, Daphne, a proficient ceramicist whose pieces are selling for high prices, manages to get the kids packed and in the car. Her husband, a surgeon, is helping evacuate patients at the hospital and can't be reached when the car runs out of gas, Daphne's purse is missing, and they family is bussed hundreds of miles away to a FEMA mega shelter in Oklahoma. Knowing that their home is destroyed and there's nothing to go home to, all they can do is struggle along with all the other evacuees, including the drug dealers and those who hate anyone who is different. No one knows what will happen next. Bruce Holsinger is a novelist and literary scholar based in Charlottesville, Virginia, and the recipient of a Guggenheim Fellowship. He is the author of the USA Today and Los Angeles Times-bestselling novel The Gifted School (Riverhead Books, 2019). A Book of the Month Club main selection and described by The Wall Street Journal as "the novel that predicted the College Admissions Scandal," The Gifted School won the Colorado Book Award and was named one of the Best Books of 2019 by NPR and numerous publications. He is also the author of A Burnable Book (2014) and The Invention of Fire (2015), award-winning historical novels published by William Morrow (HarperCollins). His essays and reviews have appeared in The New York Times, The New York Review of Books, Vanity Fair, The Washington Post, Slate, and many other publications.). Holsinger also teaches in the English department at the University of Virginia and serves as editor of the quarterly journal New Literary History. His next nonfiction book, On Parchment: Animals, Archives, and the Making of Culture from Herodotus to the Digital Age, will appear from Yale University Press in February 2023. His previous books have won major awards from the Modern Language Association, the Medieval Academy of America, and the American Musicological Society, and his academic work has been supported by the National Endowment for the Humanities and the American Council of Learned Societies. When he's not teaching or writing, Holsinger plays clawhammer old-time music on his open-back banjo.

Bruce Holsinger's novel The Displacements (Riverhead Books, 2022) is a gripping saga about what might happen in a world in which climate change can wreak havoc on life, even for those who have everything. Just before the world's first category 6 hurricane hits the ground, Daphne, a proficient ceramicist whose pieces are selling for high prices, manages to get the kids packed and in the car. Her husband, a surgeon, is helping evacuate patients at the hospital and can't be reached when the car runs out of gas, Daphne's purse is missing, and they family is bussed hundreds of miles away to a FEMA mega shelter in Oklahoma. Knowing that their home is destroyed and there's nothing to go home to, all they can do is struggle along with all the other evacuees, including the drug dealers and those who hate anyone who is different. No one knows what will happen next. Bruce Holsinger is a novelist and literary scholar based in Charlottesville, Virginia, and the recipient of a Guggenheim Fellowship. He is the author of the USA Today and Los Angeles Times-bestselling novel The Gifted School (Riverhead Books, 2019). A Book of the Month Club main selection and described by The Wall Street Journal as "the novel that predicted the College Admissions Scandal," The Gifted School won the Colorado Book Award and was named one of the Best Books of 2019 by NPR and numerous publications. He is also the author of A Burnable Book (2014) and The Invention of Fire (2015), award-winning historical novels published by William Morrow (HarperCollins). His essays and reviews have appeared in The New York Times, The New York Review of Books, Vanity Fair, The Washington Post, Slate, and many other publications.). Holsinger also teaches in the English department at the University of Virginia and serves as editor of the quarterly journal New Literary History. His next nonfiction book, On Parchment: Animals, Archives, and the Making of Culture from Herodotus to the Digital Age, will appear from Yale University Press in February 2023. His previous books have won major awards from the Modern Language Association, the Medieval Academy of America, and the American Musicological Society, and his academic work has been supported by the National Endowment for the Humanities and the American Council of Learned Societies. When he's not teaching or writing, Holsinger plays clawhammer old-time music on his open-back banjo. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

Ian Power is a composer and performer in Baltimore, USA. Power's music is inscrutable, warm, insistent, and performer-driven, and has been performed by ensembles and soloists in the US, UK, Germany, Denmark, Israel, and New Zealand.He released two albums in 2020: Diligence on Edition Wandelweiser Records, featuring long solo works; and Maintenance Hums on Carrier Records, featuring chamber works. Dusted describes him as “a force guiding the rapid-fire development of instrumental syntax and its expressive components.”Power is Assistant Professor and Director of Arts Production & Management at the University of Baltimore, where he won the Distinguished Teaching Award in 2018. His writing on rhetoric in new music and reviews of CDs and performances are published in TEMPO, and he has lectured at the American Musicological Society, American Studies Association, and universities in the US, UK, and Turkey.Power studied primarily with Chaya Czernowin, as well as with Steven Takasugi, John Luther Adams, Antoine Beuger, Anthony Burr, Bob Morris, and Dana Wilson. He has degrees from Harvard University, UC San Diego, and Ithaca College. The Truth In This ArtThe Truth In This Art is a podcast interview series supporting vibrancy and development of Baltimore & beyond's arts and culture. Mentioned in this episode:Ian Power To find more amazing stories from the artist and entrepreneurial scenes in & around Baltimore, check out my episode directory. Stay in TouchNewsletter sign-upSupport my podcastShareable link to episode ★ Support this podcast ★

In this episode, I'm chatting with Bruce Holsinger about his latest novel, The Displacements, emotional fatigue brought on by the climate crisis, the socioeconomic disparity in the United States, and choosing names for characters.Bruce Holsinger is a novelist and literary scholar based in Charlottesville, Virginia, and the recipient of a Guggenheim Fellowship. He is the author of the USA Today and Los Angeles Times-bestselling novel The Gifted School, which won the Colorado Book Award and was named one of the Best Books of 2019 by NPR and numerous publications. The novel is currently in development as a TV series with NBC/Universal Television. He is also the author of A Burnable Book and The Invention of Fire, award-winning historical novels published by William Morrow. His essays and reviews have appeared in The New York Times, The New York Review of Books, Vanity Fair, The Washington Post, Slate, and many other publications. Since 2005 Bruce has taught in the Department of English at the University of Virginia, where he specializes in medieval literature and modern critical thought and serves as editor of the quarterly journal New Literary History. His nonfiction books have won major awards from the Modern Language Association, the Medieval Academy of America, and the American Musicological Society, and his academic work has been supported by the National Endowment for the Humanities and the American Council of Learned Societies.  Bruce HolsingerThe Displacements, Bruce HolsingerThe Gifted School, Bruce Holsinger On Parchment, Bruce Holsinger A Burnable Book, Bruce Holsinger The Invention of Fire, Bruce HolsingerSupport the show

Classical violinists are expected to have the skills to play virtuosic repertoire, beautiful melodies, and sight read almost perfectly...so why can't most improvise over simple chord changes? The history is pretty fascinating!Sources: The Decline of Improvisation in Western Art Music: An Interpretation of Change -Robin Moorehttps://www.jstor.org/stable/43873094?seq=1Ferand, Ernst T. “Improvisation in Music History and Education.” Papers of the American Musicological Society, 1940, pp. 115–125. JSTOR, www.jstor.org/stable/43873094. Accessed 4 Dec. 2020.Ivor Keys - Mozart, His Music in His Life-------------------- Recommended listening:Stephanie Grapelli & Django Reinhardt - Minor Swinghttps://www.youtube.com/watch?v=9CDoJFmdFgA

In collaboration with LGBTQ+ Programs and Womxn's History Month, this special episode features guest host Gray Strain, Assistant Director for Diversity and Belonging at BGSU, and Dr. Lady J, who was keynote speaker of the 2021 Women's, Gender, and Sexuality Studies Research Symposium at BGSU. The pair discuss drag scholarship, community activism, the untold history of the artform, and the integral role transgender and cisgender women have played as performers since drag's inception.  Announcer :From Bowling Green State University and the Institute for the Study of Culture and Society, this is BG ideas.Musical Intro:I'm going to show you this with a wonderful experiment. Gray:Welcome to the BG Ideas podcast, a collaboration between the Institute for the Study of Culture and Society and the School of Media and Communication at Bowling Green State University. My name is Gray Strain, Assistant Director for Diversity and Belonging at BGSU. And I'm happy to be guest hosting a special episode today in collaboration with LGBTQ+ programs and Women's History Month. Thank you to Dr. Jolie Sheffer of ICS for allowing us to guest host this episode. We appreciate the opportunity for collaboration. This special episode of the BG Ideas podcast is being recorded during the COVID-19 pandemic. That means we're not in studio, but instead are talking via Zoom and phone. Our sound quality will be different as a result, but we want to continue to share with our listeners some of the amazing work being done on and around our campus. We at ICS and LGBTQ+ programs think it's important to celebrate great ideas. As always the opinions expressed on this podcast are those of the individuals involved and do not necessarily represent those of BGSU or its employees.Gray :Today, I am thrilled to be speaking with Dr. Lady J the Director of Programming, Education and Outreach for Studio West 117 in Cleveland, Ohio. The official drag historian for the Austin International Drag Festival, the creator and host of the podcast Untucking the Past and the keynote speaker for the 2021 Women's Gender and Sexuality Studies Research Symposium here at BGSU. A pillar of the Cleveland LGBTQIA+ community, she represents the city on the national drag scene and leads locally through activism, entertainment, and education. Her dissertation from RuPaul to the Love Ball: The Mainstreaming of Drag in the 1990s, has been downloaded over 3,800 times. And her work as a historian has been featured everywhere from vice.com to the journal of the American Musicological Society.Gray: Dr. Lady J joins me today to discuss their work in the field of drag history, the politics and inclusion of women, both transgender and cisgender in drag communities and how she serves diverse LGBTQ+ populations today in the Cleveland area. So thank you so much for joining me, Lady J. Before we dive into the fascinating topic of drag history, I do want to touch on the work that you're doing with Studio West 117. Could you tell me a little bit about your role and the vision for Studio West?Dr. Lady J:So thank you first of all, so much for having me, Gray. I'm really excited to be here, and I'm really excited about the upcoming events that we're going to be doing together for Bowling Green. So Studio West 117 is an LGBTQ hub for the Northeast Ohio area and specifically Cleveland and Lakewood, especially. We're going to be doing everything from supporting LGBTQ+ local businesses, especially starting with BIPOC businesses first. We're working with our business tenants to provide ways of entry that are low barrier of entry. Everything from working on subsidies for businesses to working on a podcast and broadcast studio. We're going to have a makers space, an artist's co-op, a coffee co-op. So there'll be a lot of different opportunities for people to break into kind of gig based jobs that may require a lot of equipment on the front end and to use high end equipment for a really reasonable price that is affordable to the average trans person.Dr. Lady J:And that's really important to me because one of the ways that I was able to survive for a while after grad school was doing landscaping and handyman work for people that would lend me their tools. I knew these trades, but I didn't really know any way that I could afford a chainsaw and like 20 different pieces of equipment for landscaping. And a thousand different things for sanding stairs and painting and dah, dah, dah, dah. So this is a way we can start with that. On top of that, we're going to have five different venues, everything from the chamber and the symposium, which are smaller kind of bar sized venues up through the 1200 seat theater, somewhere between 800 and 1200 seat theater in the fantasy theater.Dr. Lady J:We're going to have the field house, which is going to have a gymnasium. It's going to have an LGBTQ youth sports league. We're going to have a restaurant run by Juan Vergara. That is a Colombian restaurant. That's going to be managed by two different LGBTQ folks. We're going to have the first rooftop patio in Lakewood. It's going to be 2,500 square feet. We're going to have an outdoor area between the two buildings so we can do... You could start with a brunch in the field house, go through a queer flea market in the alley into a children's theater show on Sunday afternoon, into a drag show that evening or a burlesque show that night. Really a place where you can spend all day and a place for everybody to feel safe and welcome. And it's primarily a place that is first and foremost for the LGBTQ+ community, and also very welcoming to allies. But this is really the queer's community's space first.Dr. Lady J:And I really love that we're working to really make sure that Cleveland is a majority black city, and in most of the businesses and organizations I've been a part of in my time here, whether it's been activism or education, or just working like an hourly job you don't often see Black management, you don't often see Black leadership. And it's because those opportunities have been denied. This is one of the most red lined cities in the country, racism is tremendous here. And I grew up going to Atlanta, going to a place where you saw Black artists, you saw lack managers, you saw Black leadership. And I'm really excited that like with this job, I've been able to form a 5% hiring committee that is 60% trans and non-binary, I think it's 80% people of color, especially heavy right now, it's 80% Black.Dr. Lady J:And I think that's really important because most young Black folks who are a huge portion of the population here are interviewing with people who do not look like them, who do not understand what they're going through. And we're thinking really about the multi-layered issues that affect people to make sure that the hiring doesn't look inclusive just at the level of baristas and bartenders, but at the level of management, leadership, all of those things. And that's one of the things that honestly is the reason I signed on with this project. Because my first questions were things like this that are huge often tend to just go with the easiest thing, which is to pick the oldest, whitest, people who have the most typical resume to create a very standard thing. And that's what I love about every time we bring in more people is for once I'm able to say, "Let's take this perspective or this problem that you are having as community member. And let's fold this into the structure. Let's think about this on the front end." Dr. Lady J:And during COVID, we've had a lot of extra time to really think about those things, to really make sure that everyone feels like they are included. And that also comes down to people with disabilities. We're going to be one of the only places around, if not the only place in this area that has a fully accessible stages, fully accessible dressing rooms. And this was something that when I started to book one of my drag kids, who's a queer puppeteer, a young guy who uses a wheelchair it was impossible just getting him in a ground floor bar, because a lot of them have a lip that goes up or a step that goes down. We tried getting in the back door of this one place. We realized the backdoor has a step down.Dr. Lady J:And even if he came into the kitchen, which we were going to try, the galley entry from behind the bar is not big enough for a wide chair like his. So luckily Nate is able to walk some. So we were able to get him into the bar, but once I started booking him, it was a real eye-opener as far as like, we need to make sure that these things are taken care of in this venue. And the exciting thing is we've been in contact with a festival that's specifically for performers with disabilities. And we are one of the first places or the first place that they've been able to bring this to Cleveland, which they wanted to do for a long time, that we'll be able to actually accommodate not just on the audience level, but on the stage level. And that'll be everywhere from the chamber and the symposium and the fantasy dance club up through the fantasy theater, the field house, all of it.Dr. Lady J:So like that's a big part of what I think is really important. And there's about nine million other things I could talk about, but what we really want when you look at the programming for this whole place is I want it to look like it's a nightly takeover of space by different queer folks. So when you look at the schedule, it looks like nobody owns the club. That's one of my most important things is trying to make it feel like there's not a centralized thing there. So yeah, I think that's a pretty good, short, brief overview of Studio West.Gray :I mean, that's fantastic. It's this way that you're creating this LGBTQ+ hub. It's so much more than just the hub itself, right? It's all of the people behind it. And I really appreciate the way that you talked about centering BIPOC communities, so Black, Indigenous and people of color in the process. So you've talked a little bit about this, but we of course know that due to COVID, face to face interaction and truly all interaction has been limited the majority of last year into this year. And of course, a lot of drag and LGBTQ+ community building is about having those physical spaces that you've talked about. So how has this shifted the way that Studio West does their work and how you build and maintain community?Dr. Lady J:Yeah, I think that's a great question. It was really interesting because when I came onto the project, initially just as a temporary thing to see like how is this going to work and all that, we were totally thinking about like doing big events in June. We were starting to plan out our Pride events and book that out. And I'd already started booking people. And then all of a sudden everything gets locked down, COVID comes along. And the plus side of it is, it's given us a lot of time to really do those inclusivity elements, to really have those conversations. To have a five-hour long conversation between me and community members. And the other thing that's really interesting is because we have this space we're able to do like virtual events. So we just did our very first virtual event in December. It was called Aqueerium. Dr. Lady J:And so we wanted to account for COVID. So what we were originally going to do was we were going to have some in-person, about four tables, maybe 16 people of four each with dividers. And we built the stage so the whole entire front of the stage is covered by plexiglass now. So I wanted to basically create an aquarium that we could perform in kind of bringing in the idea of like, how do we incorporate what's happening in a fun way? And so our whole first show was all underwater theme, sea themed. We had a giant clamshell that our creative and technical director, Dan Housman built along with all of these kinds of set props. We had stalactites that looked like coral that he had made out of insulation foam. We really had an amazing cast. And that's what we're going to be planning to do for the rest of this year right now. We may have some in-person events that don't look like a show that involve a lot of distance, and that are actually to-go events that we'll be releasing maybe later in the year.Dr. Lady J:What we're planning on right now, basically every show we do for the rest of this year right now is planning to be all digital. So we're going to be prerecording the performers one by one so we can edit. And like, that's the great thing is it also allows us that yes, performers can come in and just use the space to record that. But also if people want to, we can do things where we edit more stuff, we can make things more like a music video. And that's kind of what we're working towards in the second show that we're going to be announcing that I'm calling Icebox. So this time we're using the front of the plexiglass again as an ice theme. And that's kind of what we're going to be doing as we go forward, is kind of keep trying to reinvent this until we find a way towards live stuff. And we're hoping that we might be able to do live socially distance stuff maybe in January of next year and maybe some this year. But, it's really going to vary on what we find out in the next few months.Gray: Yeah. I think one thing that's really great about our community, especially as I think there's an instinct to pivot. So really to just adapt. And not to quote Tim Gunn, but, "To make it work," right in the moment and do what needs to be done. So I'm going to take a quick break right now, and then we'll come back and chat a little bit more about your research and the work you do with drag history. Thanks so much for listening to BG Ideas podcast. We'll be right back.Announcer :If you are passionate about BiG Ideas consider sponsoring this program. To have your name or organization mentioned here, please contact us at ics@bgsu.edu.Gray :Hello and welcome back to the BG ideas podcast. Today we're talking to Dr. Lady J about her work as a drag historian and educator. So Lady J, as a scholar of drag and gender myself, I honestly can't hold us back any longer. Let's jump into some drag. So first could you provide, and I appreciate this is a difficult question, a working definition of drag, as you understand it for our listeners?Dr. Lady J: Okay. So yeah, this is a question that I get a lot and it is one that I find really difficult. It's one that I was asked a lot by my advisor and my whole team on my dissertation to really try to define more. Really what I think drag boils down to is its historical narrative, because there's a lot of cross dressing and crossing the gender binary that doesn't really fit in with the timeline of drag, that stands on its own as another part of another tradition. And I think that's one of the things that gets collapsed a lot in the histories is things that are theatrical cross dressing that aren't actually like drag. They're not informed by queerness. Like movies like Some Like It Hot where people have to get into drag for a reason that is motivated by the plot of the story, rather than, "I like drag. This is part of my personhood and my artistry."Dr. Lady J:But really, I would say drag is number one, an art form in the same way that sculpting or painting or any of those things are, or theater or music. It is its own artistic discipline that deserves its own space in that way. But it has to do with playing with gender and characters more importantly. But I think for me, straight people can do drag and that can be part of the tradition. But straight people, cross dressing in movies and things like that often comes from a really different place. And I think that drag at its core is inherently queer. I think that it really comes from a place of transness before there was a word for transness. The history reflects that. With cases like Boulton and Park which you can Google very easily.Dr. Lady J:That's a case of two people that both lived as women on the stage and off the stage who were assigned male at birth. They were carted in front of a judge. They were stripped nude as part of this. And one of them actually ended up performing later on with another person who lived their life as a man who was assigned female at birth, who had also had a career on the stage as a man. And who was married to a woman. And for me, that looks, even though we can't use the word trans because that wasn't indicative of the times. But what I see in that moment is two trans people, seeing themselves in each other and seeing a way to work together. And most of the people that you see in early drag are people who are gender non-conforming on and off the stage. And I think that there is also a lot of room for discussion about the wibbly wobbly-ness of the term drag and like female impersonation.Dr. Lady J:And there's so much respectability politics that goes into those things. There are many people, if you look at the 90s, especially who would say, especially trans women who would say, "I am not a drag queen, I'm a female impersonator." Because drag queen in their head was a man in a dress. But again, that's because men in dresses were the ones who were controlling that conversation. But yeah, I would say drag is really about queer people creating character personas on stage. And playing with gender is part of that. But the one thing I do want to say that I always think is really important is saying that drag is about crossing the gender binary is like saying that architecture is about making a brick. It's absolutely part of what is necessary to do the other thing. But most of the people I know who are performing drag are not thinking about the gender element the most. They're thinking about character creation. They're thinking about storytelling. They're thinking about a song that they're doing, the narrative dance styles. That's really what drag is, it's a queer performance genre.Gray :Well I really hope that we have some architecture majors tuning in to appreciate that metaphor. So, you talked already a little bit about this, but thinking of drag as a performance of gender, but also character. So what does drag have to say about identity as a whole or thinking about gender in relationship to other categories of identity?Dr. Lady J:Oh, that's a really, really tough one. What does drag have to say about identity as a whole? For me, I think it's about how different people experience it. Like I have a very hard time saying drag does things or drag is things because drag is so individual and it changes a lot.Like even when we think about female impersonation is what most people think of when they think of drag. And we think of like alternative drag that's bearded drag, or cis women doing drag as something that's brand new. All those things have been present at a minimum. And I guarantee you they're there before. I just haven't or can't think of them off the top of my head, but at a minimum, like cis women been doing drag since the 60s, bearded queens have existed since the 60s, like all of those things have existed since the 1960s, we had a counter-cultural movement that happened in drag in the same way that it happened in the rest of the world, in every other art form.Dr. Lady J:And it fully changed our art form. And so I think what drag has to say about identity very much has to do with the individual. So like for some trans women, for instance, some trans women get in drag and they feel more fully themselves. They feel confirmed by the drag and they want to be a heightened version of themselves on stage. For me as a non-binary trans woman, I did like pretty girl drag for like the first five years. I think a lot of people might question the first two or three years. Not what I'd call pretty. But like I was doing a femme face. And what I found was that once I saw myself as a trans woman in that face, I was like, "Well, this isn't what I wanted. I came here to do something that was about building a creation. That's an insane over the top heroic version of myself." Dr. Lady J:And so, that's why like Lady J the character my eyes are as big as my forehead. My mouth is huge because it's about... My character for me, drag is about becoming intimidating or becoming a big, giant ball of light that people can see themselves in. So I think it just really varies based on person to person and what you're trying to... It's the same thing as art it's like saying, what does art have to do with identity? Well, it's going to have a lot to do with the genre and the person and the aesthetic that they're going for and what their goals are.Gray :Absolutely. And I really encourage folks if they haven't already seen Lady J's character to look you up on Instagram. It's the only Lady J, correct?Dr. Lady J:Yeah.Gray :Yes. Because your makeup, your persona is absolutely fantastic. So when folks hear drag, and you've already started to break this down, many people might only make the connection to RuPaul or RuPaul's drag race or other dominant representations of "drag." so as a drag historian, what do you think gets missed in our popular understanding of the timeline of drag we have in the US? Dr. Lady J:The timeline is, I think number one, the first thing would be that the timeline generally says, "The history is about people who crossed from male to female, female to male." And that's not really been the case for a lot of history. And I think the timeline also makes it seem like trans women are something new to drag when that's not been the case. A lot of drag history's timeline has unfortunately been about respectability politics. And it's been about cis men's perspectives. Even the book that I cite in my dissertation as being foundational to my understanding of drag history, which was Laurence Senelick's The Changing Room, is virulently transphobic. It was really hard reading where alot of people would say, when they talk about the metaphorical magic of drag, many people try to say that being a trans woman and having any kind of hormonal adjustment or any kind of surgery, somehow alters what you're doing.Dr. Lady J:And I just don't really ever understand how that makes any sense. Also, because as long as there've been trans women getting pump in their face, there've been cis men in the same industry getting pump in their face. And frankly, I've had some very intense toe-to-toe screaming matches with some of my very closest friends who have had this fight with me about the place of trans women in drag. Where I had to say to this person, and it was really a hateful moment on my part, but it came out of this whole discussion about trans women's place in drag, and this person saying that trans women deserve have a different place. They're a totally separate thing. And I was like, "You can't sit here and tell me that you think that trans women and drag is somehow juicing." And I poked this person's face. And I said, "When are your lip looks like that, don't sit here and act like it's not acceptable for us to get work done when you get work done. When the same pageants who disallow trans women allow silicone injections above the neck line." Dr. Lady J:So there's a lot of these weird things that have come up. And the other thing I would say is people talk about drag as if it's always transgressive. I think that's one of the biggest, biggest lies out there. Drag absolutely often, often, often reifies and stands up the gender binary. It says it is about, "I'm a man who can also be a woman." And then the version of womanhood that's presented is absolutely like a stereotype. Now that doesn't mean that I think that high glamour drag is inherently misogynist. I don't, but I do think... And I don't think men doing drag is inherently misogynist but I do think that many people think "I am portraying a woman, so I'm paying homage."Dr. Lady J:When in fact, if you're creating a sarcastic kind of hateful version of this person, are you paying homage or are you actually just creating a misogynist tirade against what you think women are? I think there is much space for all of that. And that's kind of the thing that I want people to understand about drag is that our discussion should be the same as art. We don't call art misogynist because there's misogynist art. We don't say that all art is not misogynist because there's non-misogynist art. We take it on a case by case aesthetic by aesthetic, genre by genre basis. And that's what drag deserves.Gray :Thank you. So thinking about the role of women in drag that you touched on a bit going back to the 60s, what does it mean for you to be a woman and taking that category broadly to include transgender and cisgender women who performs in drag? Dr. Lady J:For me, it's what has helped me find my community. It's what helped me find my sisters, my partner, my best friends, the people who understand me most understand that I am most me not now, but when I'm fully Lady J.Like it was astonishing to me how different it was for the developers and the other people I work with at Studio West, who had met me in drag once when we went to New York. But it was 5:00 AM when I was getting ready that day, I was super nervous. I didn't know them very well. When we did our first show, they were like, "Oh my God, you're a totally different person." And I was like, "Yeah, because you know what happens when I get in drag? Even with all this crazy look on my dysphoria goes away. I'm not looking at a 35 year old person who has not gone on a hormone therapy yet, and who wishes they'd done it a lot sooner."Dr. Lady J:I see what I want to be. I see this heroic trans goddess of rock and roll. This KISS-like Wendy O Williams, not to be confused with Wendy Williams, like character. I always wanted to be covered in armor with a sword or something. I want to see myself as a protector because I grew up in a house where my mother was abused violently by my father. And I'm positive that's why Lady J exists. That's why I do what I do is because most of my career has been about creating someone that someone like that could never touch. And creating someone that could have saved my mom in that situation. That could have saved all of us little kids from having to deal with all of that.Dr. Lady J:That's a lot of what Lady J is, is me trying to provide people with some semblance of, "There's a future, there's hope there's promise." And also if you feel angry, like I'm going to get angry for you here on stage. I'm going to smash things. I did a number of last year where I was Lorena Bobbitt, and I was chopping an eggplant with a freshly purchased sharp butcher knife into the audience. If you want to see some stuff that is anti-misogynist, I'll give it to you because a lot of my drag is about my anger about those things. It's about processing out the pain and nonsense that I have seen and had inflicted upon me. I'm a three time sexual assault survivor. A lot of that anger goes into Lady J and that's how I get it out. And that's what's fun. And that's the hard part about COVID is like, I'm not on a stage in front of an audience, like doing all of that all the time. And maintaining sanity is harder without that.Gray :I really appreciate that. I think when we have that conversation about what drag is, we started initially in thinking that some people believe only cis men doing this kind of across gender performance, I think we miss out on all the, all the personality, all of our experiences that get put into our art form. So I really appreciate you being open about that. So I'm going to end with what I know is another difficult question. I know I've been full of them today, but who is, if you could just pick out one woman in drag's history that you think everybody should know about should go learn about right now?Dr. Lady J:That's really tough. I would say there's like maybe three that I think of a lot. One of them I would say is the person that like, if you don't know a lot about drag history, go look up Crystal LaBeija. Crystal LaBeija is the person who... Look up the movie, The Queen, and look at the argument that she has with Mother Flawless Sabrina. What you will see there is a world in which Black queens had been denied real advancement, had been denied bigger money, had been denied bigger opportunities. And this queen took this moment on film and took an enormous risk that could have made her look terrible. That could have ruined everything for her by saying, "You know what? I don't care that this documentary is here. And in fact, I think it's probably good that this documentary is here and I'm going to confront this pageant system about its racist practices and about the fact that I should have been the winner. And I was the rightful winner."Dr. Lady J:And sadly what a lot of people will see in that is just an angry Black woman. All they'll see is that. And they'll just be like, "Well, I don't understand why she's like that. What is she so mad about? Why does she think she deserved to win?" The reality is this was the only Black queen who had ever won Queen of Manhattan, which was like one of the biggest things in the world back then, at that time, for her. And so she was winning pageants that only white pageant girls were winning. And that's one of the things that we, in addition to saying, drag is not misogynist is a mythology. The other mythology is that drag is not racist. The drag world has been very racist in the past, but what you saw back in the day was that Black queens just did not... You were expected to lighten up and whiten up your skin and perform as white celebrities for the most part or light-skinned celebrities.Dr. Lady J:And then you were still going to lose no matter how well you did. Because they wanted your audience, they wanted you to participate. They wanted you to bring your people who would pay the tab, but they didn't want to allow you anything real. They didn't want to allow any of that. And so when you watch her confront Mother Flawless and tell her, "Yeah, I am showing my color, and I have a right to show my color." The entirety of this separate world of Black competition comes about because of this moment of just complete, "I'm done with this, I'm frustrated with this. And I will not do this anymore. I will not be this for you." And so being able to move on with that, I think she's one of the most important people.Dr. Lady J:And aside from her, I would say if you know a lot about drag history, you already know about her, look up Lady Chablis, you'll find out a ton of things. She was a trans woman. She never used the word drag queen and didn't like it. But I would still say she's part of the history because that's the culture she was a part of. And she did own like 12 pageant titles.Gray :Awesome. And you said there was a third as well, in your top three?Dr. Lady J:Oh, I forgot what the other one was now. The other one, I know one of the other ones I was going to say was to look up the women who were part of The Cockettes. Just look up The Cockettes and see that there was a troop of cis women, trans people, Black people, white people, babies, adults, the whole gamut.Dr. Lady J:And that was the 60s. And again, everybody thinks they're reinventing the wheel now. And it's because we have no awareness of our own history. It's like, as if we were trying to create art and all artists were trying to create art without having any idea that Cubism existed before, or that Impressionism existed before or any of these things. That's kind of the world we exist in. And that's a lot of why I try to do so much drag education, not just because we deserve to know our own history, but because it helps us get better as artists to not just keep repeating the same stuff.Gray :Awesome. Thank you. Yeah. I really think that Crystal LaBeija is a wonderful figure to highlight. And The Queen is a very interesting documentary. If a little dated, still, I think, worth a watch if only for Crystal's scene at the end.Dr. Lady J:I think it's important for people to see how bland some of the white drag scene was. Like, that's important. It's important for you to see the people that were getting somewhere despite not really doing much. Because that speaks volumes about the history itself.Gray :I think we definitely all have a lot of work to do in kind of uncovering the real, or perhaps the realer history of drag. So Dr. Lady J, I want to thank you so much for taking the time to chat about the work that you do. This has been a fantastic conversation that I think could be twice or three times the length. You have so many wonderful things to say. And I'm so glad that we were able to bring you to campus to share your keynote with us for the Women's Gender and Sexuality Studies Research Symposium. So I do want to give credit to our wonderful producers for this podcast. Chris Cavera and Marco Mendoza. Marco deserves extra thanks for sound editing in these very challenging conditions. We really appreciate you, Marco. Want to give a special thank you to the Institute for the Study of Culture and Society, and to Dr. Jolie Sheffer for allowing us to host this episode.Gray :Be sure to like, and subscribe to the BG ideas podcast, wherever you listen. And of course, follow LGBTQ+ programs on Facebook, /BGSULGBTQRC, and on Instagram @BGSU_LGBTQ. And there you can stay up to date and all of our programming and our events. But above all else, stay safe. And thanks for listening.

Intro - 0:00Tune called Planxty Sir Festus Burke | Randal Bays/fiddle, Chris Smith/tenor banjo, Roger Landes/bouzouki | composition by Turlough O'Carolan, from the album “Coyote Banjo” by Chris SmithPart I, Meet Dr. Pat Warfield  - 00:59Part II, The "Secrets" of Sousa - 12:06Part III, The Patriotism of Sousa - 31:32Part IV, The Dissemination of Sousa - 46:46Part V, The Legacy of Sousa - 54:51Outro - 01:01:40Planxty Sir Festus Burke Patrick Warfield, Ph.D., is a musicologist and specialist in American musical culture. His current research focuses on music in Washington, D.C., during the late nineteenth and early twentieth centuries, with a special interest in the American wind band tradition.Warfield has presented at conferences and meetings of the American Musicological Society, the Society for American Music, the Gesellschaft zur Erforschung und Förderung der Blasmusik and the Nineteenth-Century Studies Association. He has delivered keynote addresses at the North American British Music Studies Association and the Frederick Loewe Symposium on American Music and has served as a speaker at the International Conference on Nineteenth-Century Music and the annual American Band History Conference. His publications have appeared in "The Journal of the American Musicological Society," "American Music," "The Journal of the Society for American Music" and "Nineteenth-Century Music Review." He recently completed the edition Six Marches by John Philip Sousa for the series "Music of the United States of America" and a biography of Sousa, entitled "Making the March King," published by the University of Illinois Press.Warfield was a founding member of the editorial board of "The Journal of Music History Pedagogy," and is especially interested in the teaching of American popular music, including rock, jazz and the blues. He is also active as a public musicologist, delivering programs for the Music Center at Strathmore, the Washington National Opera and the Smithsonian.In addition to his position in the School of Music, Warfield is an affiliate faculty member in the departments of American Studies and African American Studies. For more information, please see his University of Maryland Bio. Full Playlist for EP 23VVMC Book ClubVVMC: Friends & Voices, a Collaborative PlaylistVoices from the Vernacular Music Center

Our first-ever guest interview is a mega-episode! This week, Rhiannon is joined by Tay Clarke, a choral educator and all-around wonderful human, who gives us some insight on the history of choirs and choral music. We begin in Ancient Greece, discuss some important developments throughout the centuries, and talk about the choir scene these days. Many thanks to Tay for agreeing to come on the tell and talk to me! Royalty-free music courtesy of pixabay.com. ***Recommendations from Tay*** https://www.ipachart.com/ https://dood.al/pinktrombone/ https://www.justicechoir.org/ https://www.youtube.com/playlist?list=PLi3jtBR0FdWT5VKypaWl1uMbkaSU0dpuz ***Miscellaneous Web*** https://www.etymonline.com/word/choir#etymonline_v_11304 https://greekgodsandgoddesses.net/gods/dionysus/ https://www.bl.uk/collection-items/old-hall-manuscript# https://cmed.ku.edu/~cmed/private/hyltonren.html https://cmed.ku.edu/~cmed/private/hyltonbar.html https://cmed.ku.edu/~cmed/private/classical.html https://cmed.ku.edu/~cmed/private/romantic.html ***Britannica*** https://www.britannica.com/art/chorus-theatre https://www.britannica.com/art/Gregorian-chant ***JSTOR*** Bukofzer, Manfred F. “The Beginnings of Polyphonic Choral Music.” Papers of the American Musicological Society, 1940, pp. 23–34. JSTOR, www.jstor.org/stable/43873085. Accessed 26 Apr. 2021. Brown, Howard Mayer. “Choral Music in the Renaissance.” Early Music, vol. 6, no. 2, 1978, pp. 164–169. JSTOR, www.jstor.org/stable/3125600. Accessed 26 Apr. 2021.

Episode 3, presented by Nicholas Mathew. Professor Maria Sonevytsky from UC Berkeley's music department discusses her new book Wild Music: Sound and Sovereignty in Ukraine, which just received the prestigious 2020 Lockwood Award from the American Musicological Society. How do Ukraine's two victories in the Eurovision Song Contest relate to the simultaneous revolutionary moments in the country's history? What is the contested politics of "traditional" vocal styles within the Urkainian iteration of the global television franchise The Voice? And what does modern Ukrainian history have to teach us about culture, statehood, and sovereignty in a fraught political geography of migration and shifting borders?

This week the Rock N Roll Archaeologist goes Weird!!Well Christian sits down with Lily Hirsch, author of the new book Weird Al: Seriously.From his love of accordions and Hawaiian print shirts to his popular puns and trademark dance moves, "Weird Al" Yankovic has made a career out of making us laugh.Funny music is often dismissed as light and irrelevant, but Yankovic's fourteen successful studio albums prove there is more going on than comedic music's reputation suggests. In this book, for the first time, the parodies, original compositions, and polka medleys of the Weird Al universe finally receive their due respect. Lily Hirsch weaves together original interviews with the prince of parody himself, creating a fresh take on comedy and music's complicated romance. She reveals that Yankovic's jests have always had a deeper meaning, addressing such topics as bullying, celebrity, and racial and gender stereotypes.Weird Al is undeterred by those who say funny music is nothing but a low-brow pastime. And thank goodness. With his good-guy grace still intact, Yankovic remains unapologetically and unmistakably himself. Reveling in the mischief and wisdom of Yankovic's forty-year career, this book is an Al-expense-paid tour of a true comedic and musical genius.Lily E. Hirsch has written four books on topics ranging from Jewish music's history to music in criminal law. One, in 2014, won the American Musicological Society's Ruth A. Solie Award. When not teaching or writing as a visiting scholar at California State University, Bakersfield, Hirsch blogs at insultingmusic.com. She lives in Bakersfield, California.https://www.amazon.com/Weird-Al-Seriously-Lily-Hirsch/dp/1538124998/ref=sr_1_1?dchild=1&keywords=lily+hirsch&qid=1594946271&sr=8-1https://www.lilyhirsch.com/THis show is part of Pantheon Podcasts

This week the Rock N Roll Archaeologist goes Weird!!Well Christian sits down with Lily Hirsch, author of the new book Weird Al: Seriously.From his love of accordions and Hawaiian print shirts to his popular puns and trademark dance moves, "Weird Al" Yankovic has made a career out of making us laugh.Funny music is often dismissed as light and irrelevant, but Yankovic's fourteen successful studio albums prove there is more going on than comedic music's reputation suggests. In this book, for the first time, the parodies, original compositions, and polka medleys of the Weird Al universe finally receive their due respect. Lily Hirsch weaves together original interviews with the prince of parody himself, creating a fresh take on comedy and music's complicated romance. She reveals that Yankovic's jests have always had a deeper meaning, addressing such topics as bullying, celebrity, and racial and gender stereotypes.Weird Al is undeterred by those who say funny music is nothing but a low-brow pastime. And thank goodness. With his good-guy grace still intact, Yankovic remains unapologetically and unmistakably himself. Reveling in the mischief and wisdom of Yankovic's forty-year career, this book is an Al-expense-paid tour of a true comedic and musical genius.Lily E. Hirsch has written four books on topics ranging from Jewish music's history to music in criminal law. One, in 2014, won the American Musicological Society's Ruth A. Solie Award. When not teaching or writing as a visiting scholar at California State University, Bakersfield, Hirsch blogs at insultingmusic.com. She lives in Bakersfield, California.https://www.amazon.com/Weird-Al-Seriously-Lily-Hirsch/dp/1538124998/ref=sr_1_1?dchild=1&keywords=lily+hirsch&qid=1594946271&sr=8-1https://www.lilyhirsch.com/THis show is part of Pantheon Podcasts

Episode SummaryAn unusual outfit for an unusual man, Steve Swayne unravels his connections to knitting and jazz and divulges how an almost perfectionist learned to improvise, find his own authentic self, and become an expert on Steven Sondheim all while describing an outfit that few would dare to wear. A pattern emerges of a man who will not be contained by rigid categorization and is leading us by example into a more tolerant, musically rich world, in this episode of The Sydcast.Syd FinkelsteinSyd Finkelstein is the Steven Roth Professor of Management at the Tuck School of Business at Dartmouth College. He holds a Masters degree from the London School of Economics and a Ph.D. from Columbia University. Professor Finkelstein has published 25 books and 90 articles, including the bestsellers Why Smart Executives Fail and Superbosses: How Exceptional Leaders Master the Flow of Talent, which LinkedIn Chairman Reid Hoffman calls the “leadership guide for the Networked Age.” He is also a Fellow of the Academy of Management, a consultant and speaker to leading companies around the world, and a top 25 on the global Thinkers 50 list of top management gurus. Professor Finkelstein's research and consulting work often relies on in-depth and personal interviews with hundreds of people, an experience that led him to create and host his own podcast, The Sydcast, to uncover and share the stories of all sorts of fascinating people in business, sports, entertainment, politics, academia, and everyday life. Steve SwayneSteve Swayne teaches courses in art music from 1700 to the present day, opera, American musical theater, Russian music, and American music. He has received fellowships from the Woodrow Wilson National Fellowship Foundation and the National Endowment for the Humanities. His articles have appeared in The Sondheim Review, the Journal of the Royal Musical Association, American Music, Studies in Musical Theatre, the Indiana Theory Review, and The Musical Quarterly. He has written two books—How Sondheim Found His Sound (University of Michigan Press, 2005) and Orpheus in Manhattan: William Schuman and the Shaping of America's Musical Life (Oxford University Press, 2011; winner of the 2012 ASCAP Nicolas Slonimsky Award for Outstanding Musical Biography)—and is at work on three projects: 1) the development of the chamber musical, with a focus on composer/lyricist William Finn; 2) intersections between music, neuroscience, and ethics; and 3) American composer David Diamond. He was an inaugural recipient in 2017 of the Professor John Rassias Faculty Award, given to faculty for their exceptional educational outreach to alumni. In addition to his work at Dartmouth, he has taught at the San Francisco Conservatory of Music; the University of California, Berkeley; and Quest University, and he is the president-elect of the American Musicological Society, the premier organization for musicologists in the English-speaking world. He is also an accomplished concert pianist.Insights from this episode:Secret to how Steve can play a song after listening to it only once and how that skill is useful in many aspects of life.How to deal with standing out by standing out even more and using that to direct the conversation you want people to have about you.Benefits of living your life internally as you express yourself externally.How to have an authentic conversation involving race in a racially complicated world. Strategies artists use to appeal to audiences to increase their success and how that can impact their perceived value as an artist.Benefits of working with Steven Sondheim as his biographer and becoming more of an expert on Steven Sondheim than Sondheim himself. Quotes from the show:“I am a clothes horse by nature and so I have a shoezeum at home and it's almost exclusively in Doc Martens [shoes].” – Steve Swayne“There are different ways of being you rather than the ones, maybe, that you have chosen or that society has chosen for you.” – Steve Swayne“It's very interesting to think about how people perceive others … from how we look and how we dress and you're actually turning [that perception] on its head to share a lesson.” – Syd Finkelstein “As humans, all of us can do what any other human in all of the human race has done, is doing, or has a dream of doing. We are all capable of doing all of it.” – Steve SwayneOn studying east coast Jewish composers: “I learned a lot of things that I never would have thought to know.” – Steve SwayneOn the appropriateness of telling a story of a community you are not part of: “I have a view of that community that I can only have because I'm not in it and things that might be transparent to other people, I begin to question.” – Steve Swayne“We are not what we present necessarily; because I'm black doesn't mean I can only do things marked as black … we contain multitudes, all of us.” – Steve Swayne“I feel like we are in an era now where with this idea of having the nerve, the audacity to speak for some other group that you are not part of is really looked down upon.” – Syd Finkelstein “I want to be about the business of increasing the circle of we and decreasing the circle of they.” – Steve SwayneOn elitism in general culture: “There's a thing about whatever is considered popular by the masses that somehow gets denigrated … we seem to have all these rules in place for what's acceptable, for what's good culturally and we don't know who wrote those rules.” – Syd FinkelsteinOn Steven Sondheim's style of composing: “The way he conveys the life of a character through his choice of notes is very much the way certain opera composers do that type of work.” – Steve SwayneStay Connected: Syd FinkelsteinWebsite: http://thesydcast.comLinkedIn: Sydney FinkelsteinTwitter: @sydfinkelsteinFacebook: The SydcastInstagram: The Sydcast Steve SwainInstagram: @dr._kiltmartensWebsite: Dartmouth College - The Montgomery Fellows ProgramSubscribe to our podcast + download each episode on Stitcher, iTunes, and Spotify. This episode was produced and managed by Podcast Laundry (www.podcastlaundry.com)

Katherine Preston's new book, Opera for the People: English-Language Opera & Women Managers in Late 19th-Century America (Oxford University Press, 2017) is the first complete overview of the repertoire, companies, performers, and managers that provided English-language opera to Americans after the Civil War. Preston is one of the pioneers of the musicological study of American musical culture during the nineteenth century. In one of her earlier books, Opera on the Road: Traveling Opera Troupes in the United States, 1825–60 (University of Illinois Press, 1993), Preston established that opera was one of the most popular forms of entertainment in the United States. In Opera for the People, Preston focuses on English-language opera companies that traveled throughout the United States during the second half of the nineteenth century bringing European operas and operettas performed in English translation to big cities and small towns alike. She argues that the middle-class audience cultivated by English-language troupes eventually turned their attention to musical theater beginning around 1900. Many of the troupes Preston examines were managed by their leading prima donnas, which complicates the traditional view of nineteenth-century American women as confined to the private sphere. Despite wielding significant artistic and economic power, these women were accepted by their peers and the musical press. Bolstered by her stringent attention to detail and impressive primary research, Preston's monograph finishes the account of the history of opera in America she began twenty-five years ago Katherine K. Preston is the David N. and Margaret C. Bottoms Professor (emerita) at the College of William and Mary. She has published multiple books including Music for Hire: Professional Musicians in Washington, D.C. 1877-1900 and a scholarly edition of George Bristow's Symphony No. 2, along with many articles in journals and collected editions. A past president of the Society for American Music, Preston has been active in promoting the study of American music throughout her career and has received fellowships from the National Endowment for the Humanities, the National Humanities Center, and the Fulbright Foundation. She will deliver the annual American Musicological Society lecture at the Library of Congress on April 16, 2019, which will be available on the Library's website. Learn more about your ad choices. Visit megaphone.fm/adchoices

Pedagogue, composer, and conductor Nadia Boulanger was a central figure in Igor Stravinsky's life during the middle part of his career, providing him with support, advice, and a discerning analytical and editorial voice when he was writing some of his most important compositions including the Symphony of Psalms and Persephone. Dr. Kimberly A. Francis has recently published two books related to the complicated and tangled relationship between these two people. The first, released in 2015 by Oxford University Press, is Teaching Stravinsky: Nadia Boulanger and the Consecration of a Modernist Icon. Just last month, Boydell and Brewer published Francis's edition of their letters in Nadia Boulanger and the Stravinskys: A Selected Correspondence. In other hands, Teaching Stravinsky might have been a simple joint biography, but Francis grounds her work within a theoretical framework that promotes a new approach to musicology and other fields. Building on Pierre Bourdieu's theories on cultural production, Francis reminds us that as long as musicologists insist on centering their scholarship on the lone composer/genius, someone who is almost always a man, we will miss how creative works are really a result of the complex interplay of networks of influence, and collaborators who participated in individual composers' lives and music. She positions Boulanger as a participant in the cultural field of musical modernism, who used her position to influence Stravinsky's compositions while also promoting and shaping his reputation as the premiere neo-classicist composer. At the center of Teaching Stravinsky is the long correspondence between Stravinsky, members of his family, and Boulanger which spans over forty years. In Nadia Boulanger and the Stravinkys, Francis edits and provides the English translation of most of the letters exchanged by the two friends providing readers not only the source material for her own work, but also an important resource for anyone interested in twentieth-century music. Both books have extensive companion websites. Perhaps most exciting in the Teaching Stravinsky website are the reproductions of pages from Stravinksy's scores containing Boulanger's comments with Francis's explanations. The companion site for Nadia Boulanger and the Stravinskys holds all the letters in their original French. Kimberly A. Francis is an Associate Professor of Music at the University of Guelph in Canada. Her work centers on twentieth and twenty-first century music and feminist musicology. She has published articles in many journals including The Musical Quarterly, Women and Music, and the Journal of the Society for American Music. Her work has been recognized many times with awards such as a Glen Haydon Award for her dissertation from the University of North Carolina at Chapel Hill in 2010, and the American Musicological Society's Paul A. Pisk Prize and Teaching Fund Award. She was an International Fellow with the American Association of University Women. Her research has been supported by multiple grants including a General Research Grant from the Social Sciences and Humanities Research Council of Canada (20112013). She also serves as Editor-in Chief for the University of Guelph's award-winning journal, Critical Voices: The University of Guelph Book Review Project. Learn more about your ad choices. Visit megaphone.fm/adchoices

Although largely forgotten today, elocution was a popular form of domestic and professional entertainment from the late nineteenth century until around World War II. Elocution is the dramatic reading of poetry, adapted plays, and other types of monologues by a solo performer. Dr. Marian Wilson Kimber's new book, The Elocutionists: Women, Music, and the Spoken Word (University of Illinois Press, 2017) is the first study to examine elocutionists who recited spoken word accompanied by music and proscribed movements that reflected the emotional meaning of the piece. Informed by archival sources gathered all over the country, Wilson Kimber engages with this practice through multiple lenses, including gender, race, and class as she untangles not only how elocution was performed, but also what it meant to its practitioners and audiences. She highlights important figures that some may know from other areas such as Kitty Cheatham, an advocate for and performer of African American spirituals, and the actress Fanny Kemble. However, most of the women she profiles were performers, entrepreneurs, and composers whose work has disappeared from public view as their artform fell out of favor. In addition to reciting in concert halls and for women's clubs, professional elocutionists usually taught others and many founded their own schools in towns and cities throughout the United States. Their work helped create opportunities for women to move into professional occupations and contributed to twentieth-century conceptions of middle-class respectability. Dr. Wilson Kimber has videotaped several reconstructions of elocution performances which can be seen on her YouTube channel here. They are surprisingly humorous and address topics that people will recognize today including the pressure on women to dress fashionably, the excitement of a summer romance, and the aches and pains of aging. Learn more about The Elocutionists here. Marian Wilson Kimber is a professor in the School of Music at the University of Iowa. Her work centers on gender and music of the long nineteenth century in Germany and the United States. She has published articles on anti-Semitism in the reception of music by Felix Mendelssohn in The Mendelssohns: Their Music in History, the piano work of Fanny Mendelssohn Hensel in The Journal of Musicological Research, and issues of feminist biography in the life of Fanny Hensel in Nineteenth–Century Music. The Elocutionists has been supported by subventions from the Society for American Music and the American Musicological Society, as well as research funding from the National Endowment for the Humanities and the Mellon Foundation. She is also an active member of the American Musicological Society and the University Iowa Chapter of the American Association of University Professors. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices