How one extraordinary pianist, scholar, and editor prepared for publication important scores by Ives, Copland, and Ruggles, and reshaped the history of American musical modernism. For over sixty years, the scholar and pianist John Kirkpatrick tirelessly promoted and championed the music of American composers. In this book, Drew Massey explores how Kirkpatrick's career as an editor of music shaped the musicand legacies of some of the great American modernists, including Aaron Copland, Ross Lee Finney, Roy Harris, Hunter Johnson, Charles Ives, Robert Palmer, and Carl Ruggles. Drawing on oral histories, interviews, and Kirkpatrick's own extensive archives, Massey carefully reconstructs Kirkpatrick's collaborations with such luminaries, displaying his editorial practice and inviting reconsideration of many of the most important debates in American modernism --for example, the self-fashioning of young composers during the 1940s, the cherished myth of Ruggles as a composer in communion with the "timeless," and Ives's status as a pioneer of modernist techniques. First winner (November 2014) of ASCAP's Virgil Thomson Award for Outstanding Music Criticism. Drew Massey is an Assistant Professor of Music at Binghamton University.

In 1921, insurance executive Charles Ives sent out copies of a piano sonata to two hundred strangers. Laden with dissonant chords, complex rhythm, and a seemingly chaotic structure, the so-called Concord Sonata confounded the recipients, as did the accompanying book, Essays before a Sonata . Kyle Gann merges exhaustive research with his own experience as a composer to reveal the Concord Sonata and the essays in full. Diffracting the twinned works into their essential aspects, Gann lays out the historical context that produced Ives's masterpiece and illuminates the arguments Ives himself explored in the Essays . Gann also provides a movement-by-movement analysis of the work's harmonic structure and compositional technique; connects the sonata to Ives works that share parts of its material; and compares the 1921 version of the Concord with its 1947 revision to reveal important aspects of Ives's creative process. A tour de force of critical, theoretical, and historical thought, Charles Ives's Concord provides nothing less than the first comprehensive consideration of a work at the heart of twentieth century American music.

This collection of letters to and from the eminent harpsichordist, scholar, and early-music pioneer Ralph Kirkpatrick provides a portrait of the musician from the beginning of his career in Paris in the 1930s to its end in the early 1980s. This collection of letters to and from the eminent harpsichordist, scholar, and early-music pioneer Ralph Kirkpatrick provides a portrait of the musician from the beginning of his career in Paris in the 1930s to its end in the early 1980s, offering new insights into his work and scholarship. The volume contains letters from Europe to his family as well as correspondence with harpsichord makers, performers, and composers, including Nadia Boulanger, Alexander Schneider, John Kirkpatrick, Elliott Carter, Henry Cowell, John Challis, Kenneth Gilbert, Serge Koussevitzky, and Vincent Persichetti. In addition, two former students of Kirkpatrick, the guitarist Eliot Fisk and the harpsichordist Mark Kroll, write about their experiences studying with Kirkpatrick in a foreword and an afterword. The volume also includes a bibliography of publications by and about the musician, as well as a discography. MeredithKirkpatrick is a librarian and bibliographer at Boston University and is the niece of Ralph Kirkpatrick.

This essential reference focuses on the lives, careers, and musical contributions of over 150 American pianists from early days of the nation until the present day. Richard Masters spotlights both modern and historical pianists—including women, people of color, and LGBTQ+ pianists who either never had the opportunity to win widespread acclaim but were top notch performers or who achieved important careers against heavy odds but were soon forgotten after their deaths, such as Augusta Cottlow, George Copeland, and Natalie Hinderas. This volume also gives attention to important collaborative pianists—none of whom have ever appeared in any volume on classical pianists—and influential pedagogues, some of whom never had significant performing careers but produced important students. Each entry explores an individual pianist’s life and career—from relevant biographical details to impact on American musical culture—and includes a selected list and brief discussion of existing and available recordings, if any. Additionally, an introduction situates these pianists into historical trends. Overseen by a blue-ribbon editorial board, Encyclopedia of American Classical Pianists: 1800s to the Present provides a comprehensive view of the depth and breadth of American pianistic achievement and serves as the most up-to-date work for students, piano departments, music libraries, researchers, and interested pianophiles.

Central to the repertoire of Western art music since the 1700s, the symphony has come to be regarded as one of the ultimate compositional challenges. In his series The Symphonic Repertoire, the late A. Peter Brown explored the symphony in Europe from its origins into the 20th century. In Volume V, Brown's former students and colleagues continue his vision by turning to the symphony in the Western Hemisphere. It examines the work of numerous symphonists active from the early 1800s to the present day and the unique challenges they faced in contributing to the European symphonic tradition. The research adds to an unmatched compendium of knowledge for the student, teacher, performer, and sophisticated amateur. This much-anticipated fifth volume of The Symphonic Repertoire: The Symphony in the Americas offers a user-friendly, comprehensive history of the symphony genre in the United States and Latin America.

A detailed and moving account of the life of Anneliese Landau, who, in Nazi Germany and later in émigré California, fought against prejudice to do notable work in music.

The first systematic study to address the character and scope of American popular music in India during British rule.

Fresh and innovative takes on the dissemination of music in manuscript, print, and, now, electronic formats, revealing how the world has experienced music from the sixteenth century to the present. This collection of essays examines the diverse ways in which music and ideas about music have been disseminated in print and other media from the sixteenth century onward. Contributors look afresh at unfamiliar facets of the sixteenth-century book trade and the circulation of manuscript and printed music in the seventeenth to nineteenth centuries. They also analyze and critique new media forms, showing how a dizzying array of changing technologies has influenced what we hear, whom we hear, and how we hear. The repertoires considered include Western art music -- from medieval to contemporary -- as well as popular music and jazz. Assembling contributions from experts in a wide range of fields, such as musicology, music theory, music history, and jazz and popular music studies, Music in Print and Beyond: Hildegard von Bingen to The Beatles sets new standards for the discussion of music's place in Western cultural life. Contributors: Joseph Auner, Bonnie J. Blackburn, Gabriela Cruz, Bonnie Gordon, Ellen T. Harris, Lewis Lockwood, Paul S. Machlin, Roberta Montemorra Marvin, Honey Meconi, Craig A. Monson, Kate van Orden, Sousan L. Youens. Roberta Montemorra Marvin teaches at the University of Iowa and is the author of Verdi the Student -- Verdi the Teacher (Istituto Nazionale di Studi Verdiani, 2010) and editor of The Cambridge Verdi Encyclopedia (Cambridge University Press, 2013). Craig A. Monson is Professor of Musicology at Washington University (St Louis, Missouri) and is the author of Divas in the Convent: Nuns, Music, and Defiance in Seventeenth-Century Italy (University of Chicago Press, 2012).

The demonization, internment, and deportation of celebrated Boston Symphony Orchestra conductor Dr. Karl Muck, finally told, and placed in the context of World War I anti-German sentiment in the United States. BEST CLASSICAL MUSIC BOOK RELEASE OF 2019 by Classical-music.com, the official website of BBC Music Magazine. 2019 SUMMER READS ABOUT CLASSICAL MUSIC by the Australian Broadcasting Corporation. 2019 BEST BOOK AWARD FINALIST in both the History and Performing Arts categories, sponsored by American Book Fest. 2019 SUBVENTION AWARD by the American Musicological Society, funded in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation. One of the cherished narratives of American history is that of the Statue of Liberty welcoming immigrants to its shores. Accounts of the exclusion and exploitation of Chinese immigrants in the late nineteenth century and Japanese internment during World War II tell a darker story of American immigration. Less well-known, however, is the treatment of German-Americans and Germannationals in the United States during World War I. Initially accepted and even welcomed into American society at the outbreak of war, this group would face rampant intolerance and anti-German hysteria. Melissa D. Burrage's book illustrates this dramatic shift in attitude in her engrossing narrative of Dr. Karl Muck, the celebrated German conductor of the Boston Symphony Orchestra, who was targeted and ultimately disgraced by a New York Philharmonic board member and by capitalists from that city who used his private sexual life as a basis for having him arrested, interned, and deported from the United States. While the campaign against Muck made national headlines, and is the main focus of this book, Burrage also illuminates broader national topics such as: Total War; State power; vigilante justice; internment and deportation; irresponsible journalism; sexual surveillance; attitudes toward immigration; anti-Semitism; and the development of America's musical institutions. The mistreatment of Karl Muck in the United States provides a narrative thread that connects these various wartime and postwar themes. MELISSAD. BURRAGE, a former writing consultant at Harvard University Extension School, holds a Master's Degree in History from Harvard University and a PhD in American Studies from University of East Anglia. Support for thispublication was provided by the Howard Hanson Institute for American Music at the Eastman School of Music at the University of Rochester.

Combining cultural analysis with historical and personal accounts of a century of musical life at the American Academy in Rome, this volume provides a history of the AAR's Rome Prize in Composition.