All events are at the Sheraton Phoenix Airport unless otherwise indicated.

Was Whiteness Born in Bristol?

Country Music and the Making of Twentieth-Century Whiteness

J. LESTER FEDER, University of California, Los Angeles

Native Bands on the Navajo Reservation:

A Study of Country Bands and the Communities in Which They Perform

KRISTINA JACOBSEN, Arizona State University

Music City, U.S.A.: Charlotte, North Carolina

DAVID B. PRUETT, Florida State University

Session Chair: Leonora Saavedra, University of Pittsburgh

The String Quartet at the End of the Nineteenth Century:

George Whitefield Chadwick (1854-1931) as a Chamber Music Composer

MARIANNE BETZ, Hochschule fuer Musik und Theater Felix Mendelssohn Bartholdy

Frank van der Stucken and American Music Boosterism in the Late Nineteenth Century

LARRY WOLZ, Hardin-Simmons University

Beyond Nationalism: Manuel M. Ponce’s Chapultepec

ADRIANA MARTÍNEZ, Eastman School of Music

Session Chair: David Nicholls, University of Southampton

Music and Mass Production: The Business Aesthetics of Tin Pan Alley

DAVID SUISMAN, Smithsonian Institution

From "Take Yo’ Praise" to "Praise You":

A Case Study in the Ethics and Aesthetics of Digital Sampling

MARK KATZ, Peabody Conservatory

The Next Parody & Fair Use Trial: How The U. S. Supreme Court’s Ruling On Fair Use, Parody, Satire & Free Speech Might Be Extended

E. MICHAEL HARRINGTON, Belmont University

Session Chair: Marilynn J. Smiley, State University of New York at Oswego

Revisiting Billing’s Chester

CHARLES E. BREWER, Florida State University

Eighteenth-Century Manuscript Tunebooks and The Youth’s Entertaining Amusement:

An Illustrated Talk

NANCY F. VOGAN, Mount Allison University and Princeton Theological Seminary

"The First True Contemporary American Ballet":

Collaboration and Composition in Virgil Thomson’s Filling Station

JENNIFER L. CAMPBELL, University of Connecticut

The Palm Court, Vamps, and Tangos: Dancing to Barber’s Souvenirs

RONALD J. MORGAN, University of Hawaii at Manoa

GEORGE BOZIWICK, New York Public Library, Chair

American Music Center Score Collection - A New Acquisition by NYPL

MICHAEL PISANI, Vassar College, Chair

Writing a History of Classical Music in the United States

JOSEPH HOROWITZ, New York City

Disciplining American Music

DALE COCKRELL, Vanderbilt University

Anne Dhu McLucas, chair

Session Chair: Kay Norton, Arizona State University

Recent Piano Music by Emma Lou Diemer

NANETTE KAPLAN SOLOMON, Slippery Rock University, Piano

The Influence of American Church Music on Korean Music Culture

MAHN-HEE KANG, Korea Baptist Theological University/Seminary

Byzantine Music in Hollywood:

Frank Desby and the Development of Greek Orthodox Liturgical Music in America

ALEXANDER LINGAS, Arizona State University

For Every Occasion: Music of the Old Order Amish

HILDE M. BINFORD, Moravian College (PA)

We Gather Together: Shape-Note Singing and Revivalist Notions

SAMUEL ANDREW GRANADE II, Champaign, IL

Session Chair: Robynn Stilwell, McGill University

Scoring America: Viennese Jews and the Classic Hollywood Film Score

ERIC MARTIN USNER, New York University

The Great Crossing: Nostalgia and Nation Building in Copland’s The Red Pony

BETH E. LEVY, University of Michigan

Populist Modernism and New Deal Rhetoric:

Virgil Thomson’s Score for The Plow that Broke the Plains (1936)

NEIL LERNER, Davidson College

Selling Authenticity: Miklos Rozsa’s Score for Quo Vadis (1951)

LINDA SCHUBERT, Los Angeles, CA

Session Chair: Elizabeth B. Crist, University of Texas at Austin

"After all, who shall describe Beauty?":

Music, Art and the Politics of Aesthetics in the Harlem Renaissance

MITCHELL PATTON, University of Cincinnati College-Conservatory of Music

Creating a Legacy: William Grant Still’s Afro-American Symphony and its Publics (1930-1950)

CHRISTINA TAYLOR GIBSON, Silver Spring, MD

Noir Entanglements: Black Music, White Women, and the Dark City

MINA YANG, San Francisco Conservatory of Music

Lay it down: Spirituals and Toni Morrison’s Beloved

LENORE KITTS, University of California, Berkeley

Session Chair: Josephine Wright, College of Wooster

Kueta Muela/Huya Ania (2001), by David Gompper:

Anglo-Yaqui interaction for bassoon, flute, piano, percussion, and video

Ensemble led by JEFFREY LYMAN, Arizona State University

David Gompper, Kuta Muela (2001) and video

Session Chair: John L. Howland, University of California, Davis

I’m an Old Cowhand - Bing Crosby’s Western Songs

BENJAMIN SEARS and BRADFORD CONNER, Cambridge, MA

Session Chair: Gayle Murchison, Tulane University

Toward a Theory of "Sacred Music":

Dane Rudhyar on How to Create a Cosmologically Powerful Musical Expression

PAUL MUSSER, University of Illinois at Champaign-Urbana

Henry Cowell’s The Banshee: An Essay in Textuality, the Body, and Performance

MARIA CIZMIC, University of California, Los Angeles

Theosophy, Numerology, Intuition, and Proportion in Ruth Crawford’s Diaphonic Suites

LYN ELLEN BURKETT, Crane School of Music, SUNY Potsdam

Session Chair: Katherine Preston, College of William and Mary

Harmonious Discord: Contrary Views of Band and Field Music during the American Civil War

JAMES A. DAVIS, SUNY-College at Fredonia

"A Close Imitation of the Vulgar Original":

Gottschalk and Dwight in the Min-Nineteenth Century

LAURA MOORE PRUETT, Florida State University

Summer Girls, Society Ladies, and Banjoistes:

Women and the Classic Banjo Tradition, 1880-1915

SARAH MEREDITH, Florida State University

Session Chair: Guthrie Ramsey, University of Pennsylvania

"What So Proudly We Hail’d": Performing Identity via the Star-Spangled Banner

MARK CLAGUE, University of Michigan

Chinatown, Whose Chinatown? Defining the Nation with Musical Orientalism

CHARLES HIROSHI GARRETT, University of California, Los Angeles

"Big in Japan": Orientalism, Camp, and Cultural Anxiety in Pop Music of the 1980s

GRIFFIN WOODWORTH, University of California, Los Angeles

Session Chair: Amy Beal, University of California, Santa Cruz

Fighting Self: Mao as Icon in American Experimental Music

DAVID PATTERSON, University of Illinois at Champaign-Urbana

"Beating my Head Against that Wall": Cage, Harmony, and an Argument for Analysis

ROB HASKINS, Eastman School of Music

Initiating Indeterminacy: John Cage’s Music for Piano

MARK D. NELSON, Wesleyan Univesity

Session Chair and Respondent: Dale Cockrell, Vanderbilt University; additional respondents to be announced

Minstrelsy in New York, 1865-1866 Season

JILL VAN NOSTRAND, The Graduate Center, CUNY

From Sacred to Sacrilege? Spirituals in Blackface Minstrelsy

SANDRA GRAHAM, University of California, Davis

The Minstrel Show in the Early Twentieth Century

JOHN GRAZIANO, The Graduate Center, CUNY

John Koegel, Chair

Mariachi in the Southwestern U.S.

Presenters: J. RICHARD HAEFER and KITTY LOPEZ, Arizona State University

Session Chair: Jeffrey Taylor, Brooklyn College and The Graduate Center, CUNY

"My Flow Frequency is at a Million Megahertz": Mapping Rap’s Verbal Styles

FELICIA M. MIYAKAWA, Indiana University

Joni Mitchell’s Voice

LLOYD WHITESELL, McGill University

Cyndi Lauper’s "Girls Just Want to Have Fun" and the (Re)Covering of a Pop Song

WAYNE HEISLER, JR., Princeton University

Session Chair: Ron Pen

Panelists: EVELYN HAWKINS, Pittsburgh, PA; SCOTT HANLEY, WDUQ (Pittsburgh); others

Session Chair: Chris Shultis, University of New Mexico

Performing History: Terry Riley’s In C

CECILIA SUN, University of California, Los Angeles

The Americans are Coming: The Introduction of Minimalism in Britain

KATHRYN PISARO, CalArts

Session Chair: Kristen Todd, Oklahoma Baptist University

"How Paderewski Plays": Chant d’amour and the Aestheticism of America’s Gilded Age

MAJA TROCHIMCZYK, Polish Music Center, University of Southern California

Rachmaninoff’s American Tour 1909-10: It’s a Wonder He Came Back!

DAVID BUTLER CANNATA, Boyer College of Music, Temple University

Session Chair: Karen Ahlquist

Guest speaker: Judith McCulloh, University of Illinois Press

[Afternoon outings]

10:00 pm Oscar Sonneck Sing Along
(after the Concert)

Bring songs for this ad hoc group to sing. The songs must have been
written during Oscar Sonneck's lifetime, i.e. between 1873-1928.

Mary Jane Corry, SUNY at New Paltz, organizer

Session Chair: Robert Walser, University of California, Los Angeles

American Pragmatism and Its Theoretical Relevance for Twentieth-Century American Music Scholarship: John Dewey as a Case Study

JUDITH TICK, Northeastern University

The New Musicology and American Music Scholarship

RONALD M. RADANO, University of Wisconsin, Madison

Ethnicity and Beyond:

Reconsidering Notions of Community in the Study of American Musical Life

KAY KAUFMAN SHELEMAY, Harvard University

Philip Todd, Oklahoma Baptist University, chair

The Blossoming Desert: Deep Roots and Long Branches of "The Tempe Sound"

Session Chair: Daniel Goldmark, University of Alabama

There and Back with Carlos Lomas:

Flamenco in New Mexico and Its Influence in the U.S. and Spain

GERARD POOLE, Alexandria, VA

Outsiders as Insiders in Leningrad Cowboys Go America

RICHARD LITTLEFIELD, Central Michigan University and International Semiotics Institute

If Not Klezmer, Then What?

Jewish Music and Modalities on New York City’s Jewish-Downtown Scene

TAMAR BARZEL, University of Michigan

David Hildebrand, Chair

Speaker: Kate Van Winkle Keller

(12:00 –1:00 Luncheon for members of Session 9e)

Sponsored by SAM Education Committee, Interest Groups in Band Music and Music Education

MARIANA WHITMER, Society for American Music; DEANE ROOT, University of Pittsburgh

Ron Pen, University of Kentucky, Chair

Panel Discussion: An Avenue for People to Tell Their Story: The Legacy of Alan Lomax

Panelists to be announced

Liane Curtis, Brandeis University, Chair

A Conversation and a Performance with Guest Composer Ruth Lomon

Session Chair: Karen Ahlquist, George Washington University

Who is an American Composer? What is American Music?

The New York Philharmonic’s "German" Repertory in the 1860s and 1870s

ADRIENNE FRIED BLOCK, Music in Gotham, City University of New York

Presenting Berlioz’s Music in New York, 1846-1890:

Carl Bergmann, Theodore Thomas, Leopold Damrosch

ORA FRISHBERG SALOMAN, Baruch College and Graduate Center, City University of New York

Robert Schumann’s Music in New York City, 1848-1989

NANCY B. REICH, Hastings-on-Hudson, NY

Liszt (and Wagner) in New York, 1840-1890

RENE CHARNIN MUELLER, New York University

A Separate Music: Meredith Monk and Notation, Performance, Voice

PAUL ATTINELLO, University of Newcastle upon Tyne

Meredith Monk and the End of the Renaissance

MICHAEL BROYLES, Pennsylvania State University

Chen Yi’s Compositional Paradigm: Fusing Chinese Aesthetics with Western Avant-Garde

XIAOLE LI, University of Hawaii

"God, the cosmos, the universe, reality!":

Acoustical Ontology, Post-Ontotheology, and the Music of James Tenney

JEREMY GRIMSHAW, Eastman School of Music

Session Chair: Scott Deveaux, University of Virginia

"Crossing" and "Passing" in Musical New Orleans, ca. 1910

THOMAS BROTHERS, Duke University

"Ol’ Man River" at the Fountain of Youth: The Emergence of Doo-wop

PAUL MACHLIN, Colby College

"Squabblin’ with the Blue Devils": New Thoughts about a Territorial Band

MARC RICE, Truman State University

Why Jazz Lost to Rock’n’Roll

BERNARD GENDRON, University of Wisconsin-Milwaukee

Session Chair: Lyn Schenbeck, Agnes Scott College

Victor Herbert’s Natoma: Grand Opera or Dime Novel?

GAIL MILLER ARMONDINO, Carnegie Hall

Integration in Jerome Kern’s Oh, Boy! (1917):

An Early Example from the Princess Theatre Musicals (1915-1918)

LEZLIE BOTKIN, University of Colorado-Boulder

Assassins, Oklahoma!, and the "Shifting Fringe of Dark Around the Campfire"

RAYMOND KNAPP, University of California, Los Angeles

The Unknown South Pacific: Discovering the Rest of Act One, Scene One

JIM LOVENSHEIMER, Vanderbilt University

Session Chair: Joanne Swenson-Eldridge, Beloit College

A Southwestern Musical Landscape:

The Piano Music of New Mexico Composer John Donald Robb

TATIANA VETRINSKAYA, John Donald Robb Musical Trust

The Sonatas for Violoncello and Keyboard of Rayner Taylor

JOHN METZ and BARBARA BAILEY METZ, Arizona State University, fortepiano and ‘cello

Session Chair: Joseph Horowitz, New York City

Surviving the American Musical Marketplace: The Financial Motivation Behind the American Premiere of Arnold Schoenberg’s A Survivor from Warsaw

AMY LYNN WLODARSKI, Eastman School of Music

A Historical Context for the Western-World Premiere of Shostakovich’s Stalin-blest Song of the Forests by the Toronto Jewish Folk Choir (1951)

BENITA WOLTERS-FREDLUND, University of Toronto

Septimus Winner: Two Lives in Music

MICHAEL REMSON, American Festival for the Arts and University of Houston

Educational Philosophy in Nineteenth-Century American Female Seminaries:

Music and the "Ideal of Real Womanhood"

JEWEL A. SMITH, University of Cincinnati College-Conservatory of Music

Who Blew Out the Flame?

Rediscovering the Great Mildred Bailey Songbook

TINA SPENCER DREISBACH, Hiram College

"Big Tooth Aspen"

Halim El-Dabh’s Celebration of Nature through Music

DENISE A. SEACHRIST, Kent State University

Stuart Feder, New York City, Chair

Presenters: Michael Broyles, Pennsylvania State University, and Denise Von Glahn, Florida State University

Clarifying the National Instinct: European Song in Modern American Musical Thought

TRAVIS D. STIMELING, Morgantown, WV

"He named ‘em and I whipped ‘em":

The Tumultuous Marriage of Authority and Authenticity in American Folksong Collecting

KARL HAGSTROM MILLER, University of Texas at Austin

Oral Tradition in American Vernacular Music: A Critique of Current Scholarship

ANNE DHU MCLUCAS, University of Oregon

Co-Chairs: Anna Wheeler Gentry, Tuscaloosa, AL, and Paul Laird, University of Kansas

Patriotism in the American Musical

Making "Sense out of Sound" and Rationalizing What is Good:

Goals of American Music Appreciation Textbooks of the 1920s

JULIA CHYBOWSKI, University of Wisconsin-Madison

Women Composers and the New York City Composers’ Forum, 1935-1940

MELISSA DE GRAAF, Brandeis University

The Kilenyi / Schoenberg Connection: New Insights into Gershwin’s Musical Education

SUE NEIMOYER, University of Washington