In 1862, four years after Minnesota was ratified as the thirty-second state in the Union, simmering tensions between indigenous Dakota and white settlers culminated in the violent, six-week-long U.S.-Dakota War. Hundreds of lives were lost on both sides, and the war ended with the execution of thirty-eight Dakotas on December 26, 1862, in Mankato, Minnesota--the largest mass execution in American history. The following April, after suffering a long internment at Fort Snelling, the Dakota and Winnebago peoples were forcefully removed to South Dakota, precipitating the near destruction of the area's native communities while simultaneously laying the foundation for what we know and recognize today as Minnesota. In North Country: The Making of Minnesota, Mary Lethert Wingerd unlocks the complex origins of the state--origins that have often been ignored in favor of legend and a far more benign narrative of immigration, settlement, and cultural exchange. Moving from the earliest years of contact between Europeans and the indigenous peoples of the western Great Lakes region to the era of French and British influence during the fur trade and beyond, Wingerd charts how for two centuries prior to official statehood Native people and Europeans in the region maintained a hesitant, largely cobeneficial relationship. Founded on intermarriage, kinship, and trade between the two parties, this racially hybridized society was a meeting point for cultural and economic exchange until the western expansion of American capitalism and violation of treaties by the U.S. government during the 1850s wore sharply at this tremulous bond, ultimately leading to what Wingerd calls Minnesota's Civil War. A cornerstone text in the chronicle of Minnesota's history, Wingerd's narrative is augmented by more than 170 illustrations chosen and described by Kirsten Delegard in comprehensive captions that depict the fascinating, often haunting representations of the region and its inhabitants over two and a half centuries. North Country is the unflinching account of how the land the Dakota named Mini Sota Makoce became the State of Minnesota and of the people who have called it, at one time or another, home.

The universally acclaimed and award-winning Oxford History of Western Music is the eminent musicologist Richard Taruskin's provocative, erudite telling of the story of Western music from its earliest days to the present. Each book in this superlative five-volume set illuminates-through a representative sampling of masterworks-the themes, styles, and currents that give shape and direction to a significant period in the history of Western music. Music in the Early Twentieth Century , the fourth volume in Richard Taruskin's history, looks at the first half of the twentieth century, from the beginnings of Modernism in the last decade of the nineteenth century right up to the end of World War II. Taruskin discusses modernism in Germany and France as reflected in the work of Mahler, Strauss, Satie, and Debussy, the modern ballets of Stravinsky, the use of twelve-tone technique in the years following World War I, the music of Charles Ives, the influence of peasant songs on Bela Bartok, Stravinsky's neo-classical phase and the real beginnings of 20th-century music, the vision of America as seen in the works of such composers as W.C. Handy, George Gershwin, and Virgil Thomson, and the impact of totalitarianism on the works of a range of musicians from Toscanini to Shostakovich

Reprint of the original, first published in 1872. The publishing house Anatiposi publishes historical books as reprints. Due to their age, these books may have missing pages or inferior quality. Our aim is to preserve these books and make them available to the public so that they do not get lost.

This volume shows Charles Ives in the context of his world in a number of revealing ways. Five new essays examine Ives's relationships to European music and to American music, politics, business, and landscape. J. Peter Burkholder shows Ives as a composer well versed in four distinctive musical traditions who blended them in his mature music. Leon Botstein explores the paradox of how, in the works of Ives and Mahler, musical modernism emerges from profoundly antimodern sensibilities. David Michael Hertz reveals unsuspected parallels between one of Ives's most famous pieces, the Concord Piano Sonata, and the piano sonatas of Liszt and Scriabin. Michael Broyles sheds new light on Ives's political orientation and on his career in the insurance business, and Mark Tucker shows the importance for Ives of his vacations in the Adirondacks and the representation of that landscape in his music. The remainder of the book presents documents that illuminate Ives's personal life. A selection of some sixty letters to and from Ives and his family, edited and annotated by Tom C. Owens, is the first substantial collection of Ives correspondence to be published. Two sections of reviews and longer profiles published during his lifetime highlight the important stages in the reception of Ives's music, from his early works through the premieres of his most important compositions to his elevation as an almost mythic figure with a reputation among some critics as America's greatest composer.