University of Illinois Press 2020 Music Catalog by University of Illinois Press

MUSIC

2020

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MUSIC

UNLIKELY ANGEL

The Songs of Dolly Parton

LYDIA R. HAMESSLEY Foreword by Steve Buckingham The creative process of a great American songwriter “Lydia Hamessley invites us on a deep dive into the world of Dolly Parton as songwriter. The book weaves together insightful analyses of the musical forms, cultural roots, and meanings found in Parton’s vast catalog, with Parton’s own accounts of her music. Hamessley unveils these songs as the heart and substance of Parton’s contributions to popular culture, and will inspire every reader to take yet another listen.” —JOCELYN R. NEAL, author of Country Music: A Cultural and Stylistic History OCTOBER

Dolly Parton’s success as a performer and pop culture phenomenon has overshadowed her achievements as a songwriter. But she sees herself as a songwriter first, and with good reason. Parton’s compositions like “I Will Always Love You” and “Jolene” have become American standards with an impact far beyond country music.

296 PAGES. 6.125 X 9.25 INCHES 31 BLACK & WHITE PHOTOGRAPHS, 1 MUSIC EXAMPLE, 5 TABLES

HARDCOVER, 978-0-252-04352-9 $125.00x £100.00

Lydia R. Hamessley’s expert analysis and Parton’s characteristically straightforward input inform this comprehensive look at the process, influences, and themes that have shaped the superstar’s songwriting artistry. Hamessley reveals how Parton’s loving, hardscrabble childhood in the Smoky Mountains provided the musical language, rhythms, and memories of old-time music that resonate in so many of her songs. Hamessley further provides an understanding of how Parton combines her cultural and musical heritage with an artisan’s sense of craft and design to compose eloquent, painfully honest, and gripping songs about women’s lives, poverty, heartbreak, inspiration, and love.

PAPER, 978-0-252-08542-0 $19.95 £14.99 E-BOOK, 978-0-252-05240-8 A volume in the series Women Composers All rights: University of Illinois

Filled with insights on hit songs and less familiar gems, Unlikely Angel covers the full arc of Dolly Parton’s career and offers an unprecedented look at the creative force behind the image. LYDIA R. HAMESSLEY is a professor of music at Hamilton College.

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THE LADY SWINGS

Memoirs of a Jazz Drummer

DOTTIE DODGION and WAYNE ENSTICE Foreword by Carol Sloane Scenes from a jazz life “A unique and important contribution to the history of jazz.” —DEE SPENCER, composer, performer, and educator Dottie Dodgion is a jazz drummer who played with the best. A survivor, she lived an entire lifetime before she was seventeen. Undeterred by hardships, she defied the odds and earned a seat as a woman in the exclusive men’s club of jazz. Her dues-paying path as a musician took her from early work with Charles Mingus to being hired by Benny Goodman at Basin Street East on her first day in New York. From there she broke new ground as a woman who played a “man’s instrument” in first-string, allmale New York City jazz bands. Her inspiring memoir talks frankly about her music and the challenges she faced, and shines a light into the jazz world of the 1960s and 1970s.

288 PAGES. 6 X 9 INCHES 25 BLACK & WHITE PHOTOGRAPHS

Vivid and always entertaining, The Lady Swings tells Dottie Dodgion’s story with the same verve and straight-ahead honesty that powered her playing.

HARDCOVER, 978-0-252-04359-8 $110.00x £88.00

JANUARY

PAPER, 978-0-252-08551-2 $22.95 £17.99

DOTTIE DODGION is a trailblazing American jazz drummer. WAYNE ENSTICE is a coauthor of Jazzwomen: Conversations with Twenty-One Musicians and Jazz Spoken Here: Conversations with Twenty-Two Musicians.

E-BOOK, 978-0-252-05247-7 A volume in the series Music in American Life All rights: University of Illinois

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WHEN SUNDAY COMES

Gospel Music in the Soul and Hip-Hop Eras

CLAUDRENA N. HAROLD Gospel music after the Golden Age “When Sunday Comes is the book we’ve been waiting for—a thoughtful and thought-provoking analysis of the impact contemporary singers, songwriters, and musicians have made, and continue to make, on gospel music.” —ROBERT M. MAROVICH, author of A City Called Heaven: Chicago and the Birth of Gospel Music Gospel music evolved in often surprising directions during the post– Civil Rights era. Claudrena N. Harold’s in-depth look at late-century gospel focuses on musicians like Yolanda Adams, Andraé Crouch, the Clark Sisters, Al Green, Take 6, and the Winans, and on the network of black record shops, churches, and businesses that nurtured the music. Harold details the creative shifts, sonic innovations, theological tensions, and political assertions that transformed the music, and revisits the debates within the community over groundbreaking recordings and gospel’s incorporation of rhythm and blues, funk, hip-hop, and other popular forms. At the same time, she details how sociopolitical and cultural developments like the Black Power Movement and the emergence of the Christian Right shaped both the art and attitudes of African American performers.

NOVEMBER 288 PAGES. 6.125 X 9.25 INCHES 22 BLACK & WHITE PHOTOGRAPHS

HARDCOVER, 978-0-252-04357-4 $125.00x £100.00

Weaving insightful analysis into a collective biography of gospel icons, When Sunday Comes explores the music’s essential place as an outlet for African Americans to express their spiritual and cultural selves.

PAPER, 978-0-252-08547-5 $22.95 £17.99

CLAUDRENA N. HAROLD is a professor of African American and African studies and history at the University of Virginia. She is the author of New Negro Politics in the Jim Crow South and The Rise and Fall of the Garvey Movement in the Urban South, 1918–1942.

A volume in the series Music in American Life

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E-BOOK, 978-0-252-05245-3

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FIRST TIME IN PAPERBACK AND E-BOOK

SOUL ON SOUL

The Life and Music of Mary Lou Williams

TAMMY L. KERNODLE With a new preface A jazz woman in a jazzman’s world, with a new preface by the author “Diligently chronicles the life and times of the extraordinary innovator.” —JAZZ TIMES The jazz musician-composer-arranger Mary Lou Williams spent her sixty-year career working in—and stretching beyond—a dizzying range of musical styles. Her integration of classical music into her works helped expand jazz’s compositional language. Her generosity made her a valued friend and mentor to the likes of Thelonious Monk, Charlie Parker, and Dizzy Gillespie. Her late-in-life flowering of faith saw her embrace a spiritual jazz oriented toward advancing the civil rights struggle and helping wounded souls.

OCTOBER 360 PAGES. 6 X 9 INCHES 16 BLACK & WHITE PHOTOGRAPHS

Tammy L. Kernodle details Williams’s life in music against the backdrop of controversies over women’s place in jazz and bitter arguments over the music’s evolution. Williams repeatedly asserted her artistic and personal independence to carve out a place despite widespread bafflement that a woman exhibited such genius. Embracing Williams’s contradictions and complexities, Kernodle also explores a personal life troubled by lukewarm professional acceptance, loneliness, relentless poverty, bad business deals, and difficult marriages.

HARDCOVER, 978-0-252-04360-4 $125.00x £100.00 PAPER, 978-0-252-08553-6 $24.95s £18.99 E-BOOK, 978-0-252-05248-4

In-depth and epic in scope, Soul on Soul restores a pioneering African American woman to her rightful place in jazz history.

A volume in the series Music in American Life

TAMMY L. KERNODLE is a professor of musicology at Miami University of Ohio. She served as associate editor of the three-volume Encyclopedia of African American Music and as a senior editor for the revision of New Grove Dictionary of American Music.

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INDUSTRIAL STRENGTH BLUEGRASS

Southwestern Ohio’s Musical Legacy

Edited by FRED BARTENSTEIN and CURTIS W. ELLISON Foreword by Neil V. Rosenberg High lonesome in the heartland “A new urban folk music, nurtured and shaped by a folk community in an industrial setting, has made the world familiar with southwestern Ohio’s bluegrass. Many facets of the region’s rich musical heritage are explored and celebrated in this book, a welcome addition to the literature on bluegrass.” —NEIL V. ROSENBERG, from the foreword JANUARY

In the twentieth century, Appalachian migrants seeking economic opportunities relocated to southwestern Ohio, bringing their music with them. Between 1947 and 1989, they created an internationally renowned capital for the thriving bluegrass music genre, centered on the industrial region of Cincinnati, Dayton, Hamilton, Middletown, and Springfield. Fred Bartenstein and Curtis W. Ellison edit a collection of eyewitness narratives and in-depth analyses that explore southwestern Ohio’s bluegrass musicians, radio broadcasters, recording studios, record labels, and performance venues, along with the music’s contributions to religious activities, community development, and public education. As the bluegrass scene grew, southwestern Ohio’s distinctive sounds reached new fans and influenced those everywhere who continue to play, produce, and love roots music.

272 PAGES. 6.125 X 9.25 INCHES 112 BLACK & WHITE PHOTOGRAPHS, 1 CHART

HARDCOVER, 978-0-252-04364-2 $110.00x £88.00 PAPER, 978-0-252-08560-4 $29.95s £22.99 E-BOOK, 978-0-252-05253-8 A volume in the series Music in American Life

Revelatory and multifaceted, Industrial Strength Bluegrass shares the inspiring story of a bluegrass hotbed and the people who created it.

Publication supported by a grant from the Judith McCulloh Endowment for American Music.

Contributors: Fred Bartenstein, Curtis W. Ellison, Jon Hartley Fox, Rick Good, Lily Isaacs, Ben Krakauer, Mac McDivitt, Nathan McGee, Daniel Mullins, Joe Mullins, Larry Nager, Phillip J. Obermiller, Bobby Osborne, and Neil V. Rosenberg.

All rights: University of Illinois

FRED BARTENSTEIN is an adjunct instructor in music at the University of Dayton. He is the editor of Bluegrass Bluesman, The Bluegrass Hall of Fame, and two anthologies of writings by folk arts impresario Joe Wilson. CURTIS W. ELLISON is a professor emeritus of history and American studies at Miami University. He is the author of Country Music Culture: From Hard Times to Heaven and editor of Donald Davidson’s The Big Ballad Jamboree.

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SERVING GENIUS

Carlo Maria Giulini

THOMAS D. SALER The biography of the masterful conductor who directed from the heart “A thorough, balanced, and illuminating portrait of the charismatic Italian as man and maestro.” —CHICAGO TRIBUNE Stints with the Chicago Symphony Orchestra, Philharmonia Orchestra, Vienna Symphony, and Los Angeles Philharmonic made Carlo Maria Giulini one of the most renowned and beloved conductors of the twentieth century. Thomas D. Saler tells the intertwined stories of Giulini’s extraordinary career and fascinating personal life, including the maestro’s musical awakening, his student years in Rome, his nine months in hiding for his anti-fascist beliefs during World War II, and his selfless devotion to his wife. Throughout, Saler explores how Giulini conveyed his own nuanced musicianship to an orchestra and addresses the conductor’s repertoire of choice, leadership style, and moral framework. Extensive interviews with Giulini’s family, critics, arts administrators, orchestra members, and collaborating soloists round out an unprecedented portrait of an extraordinary musical figure.

SEPTEMBER 256 PAGES. 6 X 9 INCHES 21 BLACK & WHITE PHOTOGRAPHS

PAPER, 978-0-252-08561-1 $24.95s £18.99

THOMAS D. SALER is a conservatory-trained musician and was a longtime member of the Milwaukee Symphony Chorus. He is the author of several books on personal finance.

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GEORGE FREDERICK BRISTOW KATHERINE K. PRESTON A biography of the nineteenth-century composer and musician “This remarkable book makes an essential contribution not only to our understanding of Bristow’s life, but to the landscape of nineteenth-century American music in all its multi-dimensionality. It is the definitive biography for years to come.” —DOUGLAS SHADLE, author of Orchestrating the Nation: The Nineteenth-Century American Symphonic Enterprise As American classical music struggled for recognition in the mid-nineteenth century, George Frederick Bristow emerged as one of its most energetic champions and practitioners. Katherine K. Preston explores the life and works of a figure admired in his own time and credited today with producing the first American grand opera and composing important works that ranged from oratorios to symphonies to chamber music. Preston reveals Bristow’s passion for creating and promoting music, his skills as a businessman and educator, the respect paid him by contemporaries and students, and his tireless work as both a composer and in-demand performer. As she examines Bristow against the backdrop of the music scene in New York City, Preston illuminates the little-known creative and performance culture that he helped define and create.

NOVEMBER 208 PAGES. 6 X 9 INCHES 6 BLACK & WHITE PHOTOGRAPHS, 2 TABLES

HARDCOVER, 978-0-252-04342-0 $110.00x £88.00 PAPER, 978-0-252-08532-1 $29.95s £22.99

Vivid and richly detailed, George Frederick Bristow enriches our perceptions of musical life in nineteenth-century America.

E-BOOK, 978-0-252-05230-9 A volume in the series American Composers

KATHERINE K. PRESTON is a professor emerita of music at the College of William & Mary. Her five books and many edited volumes include Opera for the People: English-Language Opera and Women Managers in Late Nineteenth-Century America and Opera on the Road: Traveling Opera Troupes in the United States, 1825–1860.

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CHEN YI LETA E. MILLER and J. MICHELE EDWARDS A user-friendly guide to the composer’s rich and engaging music “Drawing on extensive interviews, they depict this globe trotting composer’s cultural milieu in vivid detail and persuasively demonstrates the multifaceted and transnational dimension of the composer’s musical world. Their musical readings are vivid and insightful, full of rich information about Chen’s aesthetics, idioms, and distinctive style. This is a must read to anyone who is interested in concert music of twentieth and twenty-first centuries.” —NANCY RAO, author of Chinatown Opera Theater in America Chen Yi is the most prominent woman among the renowned group of new wave composers who came to the United States from mainland China in the early 1980s. Known for her creative output and a distinctive merging of Chinese and Western influences, Chen built a musical language that references a breathtaking range of sources and crisscrosses geographical and musical borders without eradicating them.

DECEMBER 256 PAGES. 6 X 9 INCHES 12 BLACK & WHITE PHOTOGRAPHS, 14 CHARTS, 105 MUSIC EXAMPLES, 2 TABLES

HARDCOVER, 978-0-252-04354-3 $110.00x £88.00

Leta E. Miller and J. Michele Edwards provide an accessible guide to the composer’s background and her more than 150 works. Extensive interviews with Chen complement in-depth analyses of selected pieces from Chen’s solos for Western or Chinese instruments, chamber works, choral and vocal pieces, and compositions scored for wind ensemble, chamber orchestra, or full orchestra. The authors highlight Chen’s compositional strategies, her artistic elaborations, and the voice that links her earliest and most recent music. A concluding discussion addresses questions related to Chen’s music and issues such as gender, ethnicity and nationality, transnationalism, border crossing, diaspora, exoticism, and identity.

PAPER, 978-0-252-08544-4 $28.00x £20.99 E-BOOK, 978-0-252-05242-2 A volume in the series Women Composers Publication of this book was supported by grants from the Donna Cardamone Jackson Endowment of the American Musicological Society, funded in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation, and from the Henry and Edna Binkele Classical Music Fund.

LETA E. MILLER is a professor of music emerita at the University of California, Santa Cruz, and the author of biographies of Aaron Jay Kernis and Lou Harrison. J. MICHELE EDWARDS, musicologist and conductor, is a professor emerita of music at Macalester College and focuses her research on women musicians, especially from the twentieth and twenty-first centuries.

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WOMEN AND GENDER STUDIES / THEATER

STARRING WOMEN

Celebrity, Patriarchy, and American Theater, 1790–1850

SARA E. LAMPERT Women pushing the limits of public life in antebellum America “An excellent intervention in women’s history and theater history, with significant new insights into the precarious gender politics that accompanied star female actors’ appearance and the ways the economic underpinnings of the business of theater colored those politics. This is an important book.” —CAROLYN EASTMAN, author of A Nation of Speechifiers: Making an American Public after the Revolution Women performers played a vital role in the development of American and transatlantic entertainment, celebrity culture, and gender ideology. Sara E. Lampert examines the lives, careers, and fame of overlooked figures from Europe and the United States whose work in melodrama, ballet, and other stage shows shocked and excited early U.S. audiences. These women lived and performed the tensions and contradictions of nineteenth-century gender roles, sparking debates about women’s place in public life. Yet even their unprecedented wealth and prominence failed to break the patriarchal family structures that governed their lives and conditioned their careers. Inevitable contradictions arose. The burgeoning celebrity culture of the time forced women stage stars to don the costumes of domestic femininity even as the unsettled nature of life in the theater defied these ideals.

OCTOBER 280 PAGES. 6 X 9 INCHES 19 BLACK & WHITE PHOTOGRAPHS

HARDCOVER, 978-0-252-04335-2 $110.00x £88.00 PAPER, 978-0-252-08526-0 $28.00x £20.99 E-BOOK, 978-0-252-05223-1 A volume in the series Women, Gender, and Sexuality in American History, edited by Susan Cahn, Wanda A. Hendricks, and Deborah Gray White

A revealing foray into a lost time, Starring Women returns a generation of performers to their central place in the early history of American theater. SARA E. LAMPERT is an associate professor of history at the University of South Dakota.

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BACH PERSPECTIVES, VOLUME 13

Bach Reworked

Edited by LAURA BUCH Parody, transcription, adaptation “This intriguing collection casts new light on Bach’s influences and impact through illuminating case studies in how composers borrow, adapt, and rework music of their predecessors, spanning from Bach’s own reworkings to ways his music has infused modern jazz and funk.” —J. PETER BURKHOLDER, author of Charles Ives: The Ideas Behind the Music Scholars and performers have long noted J. S. Bach’s abundant use of parody procedures: that is, the recycling and reworking of pre-existing material from his own compositions or from other sources. Laura Buch edits essays exploring how the composer parodied the work of others and how other composers did the same with him. The contributors delve into the works of Baroque-era composers from Bach himself to C. P. E. Bach, Johann Caspar Ferdinand Fischer, and Ferruccio Busoni. But they also cast a wider net, investigating the ways Bach’s music cross-pollinates with contemporary composer-performers John Lewis and the Modern Jazz Quartet, and keyboardist Bernie Worrell and Parliament-Funkadelic. The diverse contexts illuminate a broad range of parody techniques, from structural scaffolding and contrapuntal elaboration to integration with stylistic languages far removed from the Baroque.

DECEMBER 176 PAGES. 7 X 10 INCHES 14 BLACK & WHITE PHOTOGRAPHS, 64 MUSIC EXAMPLES, 19 TABLES

HARDCOVER, 978-0-252-04363-5 $60.00x £48.00 E-BOOK, 978-0-252-05251-4 A volume in the series Bach Perspectives All rights: University of Illinois

An insightful look at how composers build on each other’s work, Bach Reworked reveals how nuanced understandings of parody procedures can fuel both musical innovation and historically informed performance. Contributors: Stephen A. Crist, Ellen Exner, Moira Leanne Hill, Erinn E. Knyt, and Markus Zepf LAURA BUCH is an editor of C. P. E. Bach: The Complete Works, a project of The Packard Humanities Institute, in Cambridge, Massachusetts.

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ETHNOMUSICOLOGY / EDUCATION

AMERICAN GAMELAN AND THE ETHNOMUSICOLOGICAL IMAGINATION ELIZABETH A. CLENDINNING Gamelan history and practice in the diaspora "An ambitious work that can really spark scholarship that intersects ethnomusicology, performance studies, and the scholarship on teaching and learning. Clendinning discusses the positive aspects of world music ensembles, but is also open about the ethical issues involved in running a gamelan in an institution of higher education." —ERIC HUNG, Music of Asian America Research Center Gamelan and American academic institutions have maintained their close association for more than sixty years. Elizabeth A. Clendinning illuminates what it means to devote one’s life to world music ensemble education by examining the career and community surrounding the Balinese-American performer and teacher I Made Lasmawan. Weaving together stories of Indonesian and American practitioners, colleagues, and friends, Clendinning shows the impact of academic world music ensembles on the local and transnational communities devoted to education and the performing arts. While arguing for the importance of such ensembles, Clendinning also spotlights how performers and educators use them to create stable and rewarding artistic communities. Cross-cultural ensemble education emerges as a worthy goal for students and teachers alike, particularly at a time when people around the world express more enthusiasm about raising walls to keep others out rather than building bridges to invite them in.

SEPTEMBER 264 PAGES. 6 X 9 INCHES 6 BLACK & WHITE PHOTOGRAPHS, 2 MAPS

HARDCOVER, 978-0-252-04338-3 $110.00x £88.00 PAPER, 978-0-252-08529-1 $30.00x £22.99 E-BOOK, 978-0-252-05226-2 Publication supported by a grant from the Bruno Nettl Endowment for Ethnomusicology.

ELIZABETH A. CLENDINNING is an assistant professor of music at Wake Forest University.

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ANTHROPOLOGY / FOLKLORE

NEW IN PAPER

STORYTELLING IN SIBERIA

The Olonkho Epic in a Changing World

ROBIN P. HARRIS How the Sakha revived a nearly extinct art form “A most welcome contribution to the analysis of the problems facing traditional art forms in the modern world.” —JOURNAL OF AMERICAN FOLKLORE Olonkho, the epic narrative and song tradition of Siberia’s Sakha people, declined to the brink of extinction during the Soviet era. In 2005, UNESCO’s Masterpiece Proclamation sparked a resurgence of interest in olonkho by recognizing its important role in humanity’s oral and intangible heritage. SEPTEMBER

Drawing on her ten years of living in the Russian North, Robin P. Harris documents how the Sakha have used the Masterpiece program to revive olonkho and strengthen their cultural identity. Harris’s personal relationships with and primary research among Sakha people provide vivid insights into understanding olonkho and the attenuation, revitalization, transformation, and sustainability of the Sakha’s cultural reemergence. Her interdisciplinary analysis considers the nature of folklore alongside ethnomusicology, anthropology, comparative literature, and cultural studies to shed light on how marginalized peoples are revitalizing their own cultural heritage.

256 PAGES. 6 X 9 INCHES 14 BLACK & WHITE PHOTOGRAPHS, 1 LINE DRAWING, 1 MAP, 3 CHARTS, 3 MUSIC EXAMPLES, 15 TABLES

PAPER, 978-0-252-08552-9 $30.00x £22.99 E-BOOK, 978-0-252-09988-5 A volume in the series Folklore Studies in a Multicultural World

ROBIN P. HARRIS is an associate professor at Dallas International University and serves as the director of DIU’s Center for Excellence in World Arts.

Publication of this book was supported by grants from the Andrew W. Mellon Foundation and the L. J. and Mary C. Skaggs Folklore Fund. All rights: University of Illinois

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ALWAYS THE QUEEN

The Denise LaSalle Story

DENISE LASALLE, with DAVID WHITEIS The autobiography of the southern soul superstar “I’ve known Denise LaSalle for many years personally, professionally, and spiritually. Her legacy will live on forever. I am blessed to have been a ‘Knight in Her Majesty’s court.’ Long live the Queen.” —BENNY LATIMORE Denise LaSalle’s journey took her from rural Mississippi to an unquestioned reign as the queen of soul-blues. From her early R&B classics to bold and bawdy demands for satisfaction, LaSalle updated the classic blueswoman’s stance of powerful independence while her earthy lyrics about relationships connected with generations of female fans. Off-stage, she enjoyed ongoing success as a record label owner, entrepreneur, and genre-crossing songwriter.

MAY

As honest and no-nonsense as the artist herself, Always the Queen is LaSalle’s in-her-own-words story of a lifetime in music. Moving to Chicago as a teen, LaSalle launched a career in gospel and blues that eventually led to the chart-topping 1971 smash “Trapped by a Thing Called Love” and a string of R&B hits. She reinvented herself as a soul-blues artist as tastes changed and became a headliner on the revitalized southern soul circuit and at festivals nationwide and overseas. Revered for a tireless dedication to her music and fans, LaSalle continued to tour and record until shortly before her death.

256 PAGES 6 X 9 INCHES 37 BLACK & WHITE PHOTOGRAPHS

HARDCOVER, 978-0-252-04307-9 $110.00x £91.00 PAPER, 978-0-252-08494-2 $19.95 £15.99

DENISE LASALLE (1934–2018) was a soul and blues singer-songwriter and businesswoman. Her songs include “Trapped by a Thing Called Love,” “Married, but Not to Each Other,” and the modern-day soul-blues standards “A Lady in the Street,” “Don’t Jump My Pony,” and “Someone Else Is Steppin’ In.” LaSalle entered the Blues Hall of Fame in 2011 and the Rhythm & Blues Hall of Fame in 2015. DAVID WHITEIS is a journalist, writer, and educator living in Chicago. His books include Blues Legacy: Tradition and Innovation in Chicago and Southern Soul-Blues.

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E-BOOK, 978-0-252-05193-7 A volume in the series Music in American Life All rights: University of Illinois

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THE HEART OF A WOMAN

The Life and Music of Florence B. Price

RAE LINDA BROWN Edited and with a Foreword by Guthrie P. Ramsey Jr. Afterword by Carlene J. Brown An in-depth look at the groundbreaking black woman composer “Rae Linda Brown’s work extends beyond the conventional biography as it offers an analytical narrative that interrogates Price’s negotiation of the politics of race and gender, her role in advancing the black symphonic aesthetic, and her dedication to social change and racial equality on and off of the concert stage.” —TAMMY L. KERNODLE, author of Soul on Soul: The Life and Music of Mary Lou Williams JUNE

The Heart of a Woman offers the first-ever biography of Florence B. Price, a composer whose career spanned both the Harlem and Chicago Renaissances, and the first African American woman to gain national recognition for her works.

336 PAGES 6.125 X 9.25 INCHES 18 BLACK & WHITE PHOTOGRAPHS, 49 MUSIC EXAMPLES

Price’s twenty-five years in Chicago formed the core of a working life that saw her create three hundred works in diverse genres, including symphonies and orchestral suites, art songs, vocal and choral music, and arrangements of spirituals. Through interviews and a wealth of material from public and private archives, Rae Linda Brown illuminates Price’s major works while exploring the considerable depth of her achievement. Brown also traces the life of the extremely private individual from her childhood in Little Rock through her time at the New England Conservatory, her extensive teaching, and her struggles with racism, poverty, and professional jealousies. In addition, Brown provides musicians and scholars with dozens of musical examples.

HARDCOVER, 978-0-252-04323-9 $125.00x £103.00 PAPER, 978-0-252-08510-9 $29.95s £23.99 E-BOOK, 978-0-252-05211-8 A volume in the series Music in American Life Publication of this book was supported by grants from the H. Earle Johnson Fund of the Society for American Music, the Henry and Edna Binkele Classical Music Fund, and the Women’s Philharmonic Advocacy (www.wophil.org).

RAE LINDA BROWN was a professor at the University of Michigan and a professor and Robert and Marjorie Rawlins Chair of the Department of Music at the University of California, Irvine. She was the author of Music, Printed and Manuscript, in the James Weldon Johnson Memorial Collection of Negro Arts and Letters: An Annotated Catalog. She died in 2017. GUTHRIE P. RAMSEY JR. is the Edmund J. and Louise W. Kahn Term Professor of Music at the University of Pennsylvania. He is the author of Race Music: Black Cultures from Bebop to Hip-Hop and The Amazing Bud Powell: Black Genius, Jazz History, and the Challenge of Bebop.

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DEGREES OF DIFFERENCE

Reflections of Women of Color on Graduate School

Edited by KIMBERLY D. McKEE and DENISE A. DELGADO Foreword by Karen J. Leong A go-to resource for helping women of color survive, and thrive, in grad school “The personal and the political are addressed in this multi faceted collection, which is a blanket of resources for graduate students and tenure-track academics, as well as for seasoned and tenured committee members, serving on university rank and tenure committees. Bravas! This is a great addition to a collection of groundbreaking literature in this area.” —GABRIELLA GUTIÉRREZ Y MUHS, editor of Presumed Incompetent: The Intersections of Race and Class for Women in Academia

MAY 232 PAGES 6 X 9 INCHES

University commitments to diversity and inclusivity have yet to translate into support for women of color graduate students. Sexism, classism, homophobia, racial microaggressions, alienation, disillusionment, a lack of institutional and departmental support, limited help from family and partners, imposter syndrome, narrow reading lists—all remain commonplace. Indifference to the struggles of women of color in graduate school and widespread dismissal of their work further poison an atmosphere that suffocates not only ambition but a person’s quality of life.

HARDCOVER, 978-0-252-04318-5 $110.00x £91.00 PAPER, 978-0-252-08505-5 $19.95s £15.99 E-BOOK, 978-0-252-05206-4

In Degrees of Difference, women of color from diverse backgrounds give frank, unapologetic accounts of their battles—both internal and external—to navigate grad school and fulfill their ambitions. At the same time, the authors offer strategies for surviving the grind via stories of their own hard-won successes with self-care, building supportive communities, finding like-minded mentors, and resisting racism and unsupportive faculty and colleagues.

All rights: University of Illinois

Contributors: Aeriel A. Ashlee, Denise A. Delgado, Nwadiogo I. Ejiogu, Delia Fernández, Regina Emily Idoate, Karen J. Leong, Kimberly D. McKee, Délice Mugabo, Carrie Sampson, Arianna Taboada, Jenny Heijun Wills, and Soha Youssef KIMBERLY D. MCKEE is an associate professor in the Integrative, Religious, and Intercultural Studies Department at Grand Valley State University and the author of Disrupting Kinship: Transnational Politics of Korean Adoption in the United States. DENISE A. DELGADO received her Ph.D. from the Ohio State University and works as an analyst and trainer.

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FILM / MUSIC

VOICING THE CINEMA

Film Music and the Integrated Soundtrack

Edited by JAMES BUHLER and HANNAH LEWIS Daring new ideas on what we hear at the movies “Including works by many of film music’s finest scholars, the diversity of articles and approaches here is most welcome. Some pieces will prove to be real game-changers, beautifully written and argued.” —CARYL FLINN, author of Brass Diva: The Life and Legends of Ethel Merman Theorists of the soundtrack have helped us understand how the voice and music in the cinema impact a spectator’s experience. James Buhler and Hannah Lewis edit in-depth essays from many of film music’s most influential scholars in order to explore fascinating issues around vococentrism, the voice in cinema, and music’s role in the integrated soundtrack.

MARCH

The collection is divided into four sections. The first explores historical approaches to technology in the silent film, French cinema during the transition era, the films of the so-called New Hollywood, and the post-production sound business. The second investigates the practice of the singing voice in diverse repertories such as Bergman’s films, Eighties teen films, and girls’ voices in Brave and Frozen. The third considers the auteuristic voice of the soundtrack in works by Kurosawa, Weir, and others. A last section on narrative and vococentrism moves from The Martian and horror film to the importance of background music and the state of the soundtrack at the end of vococentrism.

352 PAGES 6.125 X 9.25 INCHES 66 BLACK & WHITE PHOTOGRAPHS, 12 MUSIC EXAMPLES, 6 TABLES

HARDCOVER, 978-0-252-04300-0 $125.00x £103.00 PAPER, 978-0-252-08486-7 $30.00x £23.99

JAMES BUHLER is a professor of music theory at the University of Texas at Austin. He is the author of Theories of the Soundtrack and a coauthor of Hearing the Movies: Music and Sound in Film History. HANNAH LEWIS is an assistant professor of musicology at the University of Texas at Austin. She is the author of French Musical Culture and the Coming of Sound Cinema.

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E-BOOK, 978-0-252-05186-9 Publication of this book was supported in part by a grant from Furthermore: a program of the J. M. Kaplan Fund. All rights: University of Illinois

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PEGGY SEEGER

A Life of Music, Love, and Politics

JEAN R. FREEDMAN A full-length biography of the folk music legend “O, how I love this book! It gives me everything I wanted to know about my friend, the salty and sweet Peggy Seeger and her unique and prolific family. All the pain is there, but so are the achievements and the joys. This book goes on my shelf next to The Mayor of MacDougal Street, and I can offer no higher praise than that.” —TOM PAXTON Born into folk music’s first family, Peggy Seeger has blazed her own trail artistically and personally. Jean R. Freedman draws on a wealth of research and conversations with Seeger to tell the life story of one of music’s most charismatic performers and tireless advocates.

FEBRUARY

Here is the story of Seeger’s multifaceted career from her youth to her pivotal role in the American and British folk revivals, from her instrumental virtuosity to her tireless work on behalf of environmental and feminist causes. Freedman also delves into Seeger’s fruitful partnership with Ewan MacColl, including their creation of the renowned Festival of Fools, their legendary Radio Ballads series, their many projects with the young folksingers of the Critics Group, and their recording company Blackthorne Records.

408 PAGES 6.125 X 9.25 INCHES 19 BLACK & WHITE PHOTOGRAPHS

JEAN R. FREEDMAN earned a Ph.D. in folklore from Indiana University. She is the author of Whistling in the Dark: Memory and Culture in Wartime London.

A volume in the series Music in American Life

PAPERBACK 978-0-252-08513-0 $19.95 £15.95 E-BOOK, 978-0-252-09921-2

Publication of this book was supported by grants from the Manfred Bukofzer Endowment of the American Musicological Society, funded in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation, and from the L. J. and Mary C. Skaggs Folklore Fund. All rights: University of Illinois

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MUSIC / WOMEN, GENDER, AND SEXUALITY STUDIES

HILLBILLY MAIDENS, OKIES, AND COWGIRLS

Women’s Country Music, 1930–1960

STEPHANIE VANDER WEL Pioneering women and their soundtrack of searching in country music “Women’s struggle for inclusion is one of the biggest stories in country music today. Vander Wel’s rich history shows how female artists fought for a voice and made it central to country’s stories of gender, class, and migration in mid– twentieth-century America.” —NADINE HUBBS, author of Rednecks, Queers, and Country Music From the 1930s to the 1960s, the booming popularity of country music threw a spotlight on a new generation of innovative women artists. These individuals blazed trails as singers, musicians, and performers even as the industry hemmed in their potential popularity with labels like woman hillbilly, singing cowgirl, and honkytonk angel.

MARCH 256 PAGES 6 X 9 INCHES 11 BLACK & WHITE PHOTOGRAPHS, 3 MUSIC EXAMPLES

Stephanie Vander Wel looks at the careers of artists like Patsy Montana, Rose Maddox, and Kitty Wells against the backdrop of country music’s golden age. Analyzing recordings and appearances on radio, film, and television, she connects performances to real and imagined places and examines how the music sparked new ways for women listeners to imagine the open range, the honky-tonk, and the home. The music also captured the tensions felt by women facing geographic disruption and economic uncertainty. While classic songs and heartfelt performances might ease anxieties, the subject matter underlined women’s ambivalent relationships to industrialism, middle-class security, and established notions of femininity.

HARDCOVER, 978-0-252-04308-6 $110.00x £91.00 PAPER, 978-0-252-08495-9 $25.95s £20.99 E-BOOK, 978-0-252-05194-4 Publication of this book was supported by a grant from the Judith McCulloh Endowment for American Music, and by the AMS 75 PAYS Endowment of the American Musicological Society, funded in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation.

STEPHANIE VANDER WEL is an associate professor of music at the University at Buffalo.

A volume in the series Music in American Life All rights: University of Illinois

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THE STRING QUARTETS OF BEETHOVEN Edited by WILLIAM KINDERMAN Exploring anew the world’s most important single body of classical chamber music “As other scholars read and digest the ideas expressed in these essays, they will be encouraged to reexamine works both by Beethoven and other composers in light of the concepts and methodologies presented here. This book is highly recommended reading for anyone interested in Beethoven’s quartets, or any facet of Beethoven’s music, as well as for libraries serving research and graduate programs in music history, musicology, or music theory.” —NOTES

MARCH 360 PAGES 7 X 10 INCHES 282 LINE DRAWINGS, 8 TABLES

“We do not understand music—it understands us.” This aphorism by Theodor W. Adorno expresses the quandary and the fascination many listeners have felt in approaching Beethoven’s late quartets. No group of compositions occupies a more central position in chamber music, yet the meaning of the works continues to stimulate debate. William Kinderman’s The String Quartets of Beethoven stands as the most detailed and comprehensive exploration of the subject. It collects new work by leading international scholars who draw on a variety of historical sources and analytical approaches to offer fresh insights into the aesthetics of the quartets, probing expressive and structural features that have hitherto received little attention. Kinderman also includes an appendix with updated information on the chronology and sources of the quartets and a detailed bibliography.

PAPER, 978-0-252-08515-4 $35.00x £27.99 E-BOOK, 978-0-252-09162-9 All rights: University of Illinois

WILLIAM KINDERMAN is Professor and Inaugural Leon M. Klein and Elaine Krown Klein Chair of Performance Studies in the Herb Alpert School of Music at UCLA. His publications include Beethoven’s Diabelli Variations, Beethoven, and the three-volume Artaria 195: Beethoven’s Sketchbook for the Missa solemnis and the Piano Sonata in E Major, Opus 109.

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ARTFUL NOISE

Percussion Literature in the Twentieth Century

THOMAS SIWE The authoritative text on the artists, works, and innovations of the percussion revolution “Simply stated, this is a singular contribution detailing the history of percussion literature in the twentieth century made by one of the most knowledgeable percussion educators who was witness to many of the composers and compositions he discusses.” —KATHLEEN KASTNER, Wheaton College Conservatory of Music Twentieth-century composers created thousands of original works for solo percussion and percussion ensemble. Concise and ideal for the classroom, Artful Noise offers an essential and much-needed survey of this unique literature. Percussionist Thomas Siwe organizes and analyzes the groundbreaking musical literature that arose during the twentieth century. Focusing on innovations in style and the evolution of the percussion ensemble, Siwe offers a historical overview that connects the music to scoring techniques, new instrumentation and evolving technologies as well as world events. Discussions of representative pieces by seminal composers examine the resources a work requires, its construction, and how it relates to other styles that developed during the same period. In addition, Siwe details the form and purpose of many of the compositions while providing background information on noteworthy artists. Each chapter is supported with musical examples and concludes with a short list of related works specifically designed to steer musicians and instructors alike toward profitable explorations of composers, styles, and eras.

JULY 240 PAGES 6 X 9 INCHES 2 BLACK & WHITE PHOTOGRAPHS, 88 MUSIC EXAMPLES

HARDCOVER, 978-0-252-04313-0 $110.00x £91.00 PAPER, 978-0-252-08500-0 $28.00x £21.99 E-BOOK, 978-0-252-05201-9

THOMAS SIWE is a professor emeritus of music at the University of Illinois at Urbana-Champaign. He is the author of Percussion: A Course of Study for the Future Band and Orchestra Director and Ten Hall of Fame Snare Drum Solos, and a member of the Percussive Arts Society’s Hall of Fame.

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ETHNOMUSICOLOGY / MIDDLE EASTERN STUDIES

MUSICAL ETHICS AND ISLAM

The Art of Playing the Ney

BANU ŞENAY The “sweet servitude” of learning the ney in today’s Turkey “Musical Ethics and Islam is easy on the mind’s eye and the ear, full of insight, and a genuine pleasure to read. Şenay well understands her instrument, the crafting of its sounds and the complex demands of her teacher’s ‘jealous gift.’ It charts a new and distinct route through the cultural complexities of Islamic revival in Turkey and beyond; her conclusions will be of real interest to anthropologists of music and of Islam alike.” —MARTIN STOKES, coeditor of Islam and Popular Culture APRIL

After the establishment of the Turkish Republic, Turkey’s secularized society disdained the ney, the Sufi reed flute long associated with Islam. The instrument’s remarkable revival in today’s cities has inspired the creation of teaching and learning sites that range from private ney studios to cultural and religious associations and from university clubs to mosque organizations.

240 PAGES 6 X 9 INCHES 12 BLACK & WHITE PHOTOGRAPHS, 3 MUSIC EXAMPLES, 1 TABLE

Banu Şenay documents the years-long training required to become a neyzen—a player of the ney. The process holds a transformative power that invites students to create a new way of living that involves alternative relationships with the self and others, changing perceptions of the city, and a dedication to craftsmanship. Şenay visits reed harvesters and travels from studios to workshops to explore the practical processes of teaching and learning. She also becomes an apprentice ney-player herself, exploring the desire for spirituality that encourages apprentices and masters alike to pursue ney music and its scaffolding of Islamic ethics and belief.

HARDCOVER, 978-0-252-04302-4 $110.00x £91.00 PAPER, 978-0-252-08488-1 $28.00x £21.99 E-BOOK, 978-0-252-05188-3 All rights: University of Illinois

BANU ŞENAY is a lecturer in the Department of Anthropology at Macquarie University, Australia. She is the author of Beyond Turkey’s Borders: Long-distance Kemalism, State Politics, and the Turkish Diaspora.

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SIGNS OF THE SPIRIT

Music and the Experience of Meaning in Ndau Ceremonial Life

TONY PERMAN Investigating the power of music to shape emotion and community in Zimbabwe “Perhaps of the greatest benefit for anyone in the arts, humanities, and social sciences, Signs of the Spirit provides the most thorough and coherent general theory of music and emotion to date. Perman’s theory, in turn, is based on a highly specified explanation of the ways that musical performance and emotion are meaningful and, especially, the ways iconic and symbolic generality are transformed into an unqualified experience of the indexical here-and-now.” —THOMAS TURINO, author of Music as Social Life: The Politics of Participation

JUNE 280 PAGES 6 X 9 INCHES 10 BLACK & WHITE PHOTOGRAPHS, 1 MAP, 9 CHARTS, 15 MUSIC EXAMPLES

In 2005, Tony Perman attended a ceremony alongside the living and the dead. His visit to a Zimbabwe farm brought him into contact with the madhlozi, outsider spirits that Ndau people rely upon for guidance, protection, and their collective prosperity.

HARDCOVER, 978-0-252-04325-3 $110.00x £91.00

Perman’s encounters with the spirits, the mediums who bring them back, and the accompanying rituals form the heart of his ethnographic account of how the Ndau experience ceremonial musicking. As Perman witnessed other ceremonies, he discovered that music and dancing shape the emotional lives of Ndau individuals by inviting them to experience life’s milestones or cope with its misfortunes as a group. Signs of the Spirit explores the historical, spiritual, and social roots of ceremonial action and details how that action influences the Ndau’s collective approach to their future. The result is a vivid ethnomusicological journey that delves into the immediacy of musical experience and the forces that transform ceremonial performance into emotions and community.

PAPER, 978-0-252-08517-8 $30.00x £23.99 E-BOOK, 978-0-252-05213-2 All rights: University of Illinois

TONY PERMAN is an assistant professor of music at Grinnell College.

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EARL SCRUGGS AND FOGGY MOUNTAIN BREAKDOWN

The Making of an American Classic

THOMAS GOLDSMITH The breakneck banjo tune that became a song for the ages “The Bluegrass Reader successfully manages to appeal to both the bluegrass insider and the newcomer to the genre, and in the process has given well-deserved new life to some masterful bits of writing.” —BLUEGRASS UNLIMITED

“An enormous contribution to the history of bluegrass and a fascinating read, well organized and well told. Goldsmith’s lengthy interview with Earl is a treasure trove of information not only about ‘Foggy Mountain Breakdown’ but about the early days of bluegrass and specifically Earl’s working relationship with Bill Monroe, which has long been clouded in mystery.” —MURPHY HICKS HENRY, author of Pretty Good for a Girl: Women in Bluegrass 200 PAGES. 6 X 9 INCHES 12 BLACK & WHITE PHOTOGRAPHS

Recorded in 1949, “Foggy Mountain Breakdown” changed the face of American music. Earl Scruggs’s instrumental essentially transformed the folk culture that came before it while helping to energize bluegrass’s entry into the mainstream in the 1960s. The song has become a gateway to bluegrass for musicians and fans alike as well as a happily inescapable track in film and television.

HARDCOVER, 978-0-252-04296-6 $99.00x £79.00 PAPER, 978-0-252-08478-2 $19.95 £14.99

Thomas Goldsmith explores the origins and influence of “Foggy Mountain Break down” against the backdrop of Scruggs’s legendary career. Interviews with Scruggs, his wife Louise, disciple Béla Fleck, and sidemen like Curly Seckler, Mac Wiseman, and Jerry Douglas shed light on topics like Scruggs’s musical evolution and his working relationship with Bill Monroe. As Goldsmith shows, the captivating sound of “Foggy Mountain Breakdown” helped bring back the banjo from obscurity and distinguished the low-key Scruggs as a principal figure in American acoustic music.

E-BOOK, 978-0-252-05182-1 A volume in the series Music in American Life Publication of this book was supported in part by a grant from the Judith McCulloh Endowment for American Music.

THOMAS GOLDSMITH is a music journalist. For more than thirty years, he has worked both in daily newspapers in North Carolina and Tennessee and as a freelance writer. He is the editor of The Bluegrass Reader and was the International Bluegrass Music Association’s Print Media Person of the Year.

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BLUES BEFORE SUNRISE 2

Interviews from the Chicago Scene

STEVE CUSHING Face-to-face with the blues, one more time “Cushing has provided a massive public service . . . with this enthralling volume.” —JUKE BLUES

“Rarely are sequels better than the originals, but Blues Before Sunrise 2 is a happy exception. Cushing delivers another truly significant contribution to the blues literature.” —EDWARD KOMARA, editor of Encyclopedia of the Blues In this new collection of interviews, Steve Cushing once again invites readers into the vaults of Blues Before Sunrise, his acclaimed nationally syndicated public radio show. Icons from Brewer Phillips (talking about his days with Memphis Minnie) to the Gay Sisters stand alongside figures like schoolteacher Flossie Franklin, who helped Leroy Carr pen some of his most famous tunes; saxman Abb Locke and his buddy Two-Gun Pete, a Chicago cop notorious for killing people in the line of duty; and Scotty ”The Dancing Tailor” Piper, a font of knowledge on the black entertainment scene of his day.

264 PAGES. 6.125 X 9.25 INCHES 37 BLACK & WHITE PHOTOGRAPHS

HARDCOVER, 978-0-252-04282-9 $99.00x £79.00 PAPER, 978-0-252-08465-2 $24.95 £18.99

Cushing also devotes a section to religious artists, including the world-famous choir Wings Over Jordan and their travails touring and performing in the era of segregation. Another section focuses on the jazz-influenced Bronzeville scene that gave rise to Marl Young, Andrew Tibbs, and many others, while a handful of Cushing’s early brushes with the likes of Little Brother Montgomery, Sippi Wallace, and Blind John Davis round out the volume.

E-BOOK, 978-0-252-05168-5 A volume in the series Music in American Life All rights: University of Illinois

Diverse and entertaining, Blues Before Sunrise 2 adds a chorus of new voices to the fascinating history of Chicago blues. STEVE CUSHING has hosted Blues Before Sunrise for forty years. He is the author of Blues Before Sunrise: The Radio Interviews and Pioneers of the Blues Revival.

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BLUES LEGACY

Tradition and Innovation in Chicago

DAVID WHITEIS Photographs by Peter M. Hurley Chicago blues artists performing against the backdrop of history “Appealing to serious jazz fans, Whiteis’s history serves as a handy reference to Chicago blues. “ —PUBLISHERS WEEKLY

“In his latest history on Chicago blues, Whiteis is, as usual, informative and stimulating, while addressing some considerably contentious issues. The author has long demonstrated that he is one of the best writers on blues. He has a way with words that can paint a vivid portrait of his subject or scene.” —ROBERT PRUTER, author of Chicago Soul 336 PAGES. 6.125 X 9.25 INCHES 49 BLACK & WHITE PHOTOGRAPHS

Chicago blues musicians parlayed a genius for innovation and emotional honesty into a music revered around the world. As the blues evolves, it continues to provide a soundtrack to, and a dynamic commentary on, the African American experience: the legacy of slavery; historic promises and betrayals; opportunity and disenfranchisement; and the ongoing struggle for freedom. Through it all, the blues remains steeped in survivorship and triumph, a music that dares to stare down life in all its injustice and iniquity and still laugh—and dance—in its face.

HARDCOVER, 978-0-252-04288-1 $110.00x £88.00 PAPER, 978-0-252-08470-6 $24.95 £18.99 E-BOOK, 978-0-252-05174-6

David Whiteis delves into how the current and upcoming Chicago blues generations carry on this legacy. Drawing on in-person interviews, Whiteis places the artists within the ongoing social and cultural reality their work reflects and helps create. Beginning with James Cotton, Eddie Shaw, and other bequeathers, he moves through an all-star council of elders like Otis Rush and Buddy Guy and on to inheritors and today’s heirs apparent like Ronnie Baker Brooks, Shemekia Copeland, and Nellie “Tiger” Travis.

A volume in the series Music in American Life Publication of this book was supported in part by a grant from the Judith McCulloh Endowment for American Music. All rights: University of Illinois

Insightful and wide-ranging, Blues Legacy reveals a constantly adapting art form that, whatever the challenges, maintains its links to a rich musical past. DAVID WHITEIS is a journalist, writer, and educator living in Chicago. He is a past winner of the Blues Foundation’s Keeping the Blues Alive Award for Achievement in Journalism. He is the author of Southern Soul-Blues and Chicago Blues: Portraits and Stories. PETER M. HURLEY is a photographer, muralist, graphic designer, and songwriter, and an active contributing photographer to Living Blues magazine.

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ROCKING THE CLOSET

How Little Richard, Johnnie Ray, Liberace, and Johnny Mathis Queered Pop Music

VINCENT L. STEPHENS Pushing boundaries with an all-star bill of hitmakers “Well-argued and thoughtful.” —ARTS FUSE

“This is culturally and historically informed scholarship of the highest order. Stephens seeks to question and complicate the established historical way of thinking and to provide a nuanced reading of queerness that admits the powerful possibilities of the ‘open secret’ in a pre-Liberation era when popular male musicians neither could nor necessarily desired to come out of the closet.” —THEO CATEFORIS, author of Are We Not New Wave? Modern Pop at the turn of the 1980s

248 PAGES. 6 X 9 INCHES 16 BLACK & WHITE PHOTOGRAPHS

The all-embracing, ”whaddya got?” nature of rebellion in Fifties America included pop music’s unlikely challenge to entrenched notions of masculinity. Within that upheaval, four prominent artists dared to behave in ways that let the public assume—but not see—their queerness. That these artists cultivated ambiguous sexual personas often reflected an understandable fear but also a struggle to fulfill personal and professional expectations.

HARDCOVER, 978-0-252-04280-5 $99.00x £79.00 PAPER, 978-0-252-08463-8 $27.95s £20.99 E-BOOK, 978-0-252-05166-1

Vincent L. Stephens confronts notions of the closet—both coming out and staying in—by analyzing the careers of Liberace, Johnny Mathis, Johnnie Ray, and Little Richard. Appealing to audiences hungry for novelty and exoticism, the four pop icons used performance and queering techniques that ran the gamut. Liberace’s flamboyance shared a spectrum with Mathis’s intimate sensitivity while Ray’s overwrought displays as “Mr. Emotion” seemed worlds apart from Little Richard’s raise-the-roof joyousness. As Stephens shows, the quartet not only thrived in an era of gray flannel manhood, they pioneered the ways generations of later musicians would consciously adopt sexual mystery as an appealing and proven route to success.

A volume in the series New Perspectives on Gender in Music, edited by Suzanne Cusick and Henry Spiller Publication of this book was supported by a grant from the AMS 75 PAYS Endowment of the American Musicological Society, funded in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation. All rights: University of Illinois

VINCENT L. STEPHENS is the director of the Popel Shaw Center for Race & Ethnicity and a contributing faculty member in music at Dickinson College. He is a coeditor of Post Racial America? An Interdisciplinary Study.

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THE ARITHMETIC OF LISTENING

Tuning Theory and History for the Impractical Musician

KYLE GANN Seeing through the secret lens of tuning to new musical horizons “There is unlikely to be a better book that, confined by the limitations of mere words, can provide a comprehensive review of the many things Ashley has achieved. A real page-turner” —EXAMINER.COM

“Not only explains the materials and history of this music in great detail but also—and probably most importantly—illustrates how these scales and harmonies are used in actual living, breathing music. What has always been missing from the literature is an overarching guide to the field that is clearly written for both the amateur and professional. This is that book.” —JOHN SCHNEIDER, Grammy Award–winning producer 312 PAGES. 7 X 10 INCHES 49 CHARTS, 107 MUSIC EXAMPLES, 4 TABLES, 20 EQUATIONS

”Tuning is the secret lens through which the history of music falls into focus,” says Kyle Gann. Yet in Western circles, no other musical issue is so ignored, so taken for granted, so shoved into the corners of musical discourse.

HARDCOVER, 978-0-252-04258-4 $110.00x £88.00

A classroom essential and an invaluable reference, The Arithmetic of Listening offers beginners the grounding in music theory necessary to find their own way into microtonality and the places it may take them. Moving from ancient Greece to the present, Kyle Gann delves into the infinite tunings available to any musician who feels straitjacketed by obedience to standardized Western European tuning. He introduces the concept of the harmonic series and demonstrates its relationship to equal-tempered and well-tempered tuning. He also explores recent experimental tuning models that exploit smaller intervals between pitches to create new sounds and harmonies.

PAPER, 978-0-252-08441-6 $34.95s £26.99 E-BOOK, 978-0-252-05142-5 Publication of this book was supported by a grant from the Dragan Plamenac Endowment of the American Musicological Society, funded in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation.

Systematic and accessible, The Arithmetic of Listening provides a much-needed primer for the wide range of tuning systems that have informed Western music. Audio examples demonstrating the musical ideas in The Arithmetic of Listening can be found at: www.kylegann.com/Arithmetic.html

All rights: University of Illinois

KYLE GANN is a composer and the Taylor Hawver and Frances Bortle Hawver Professor of Music at Bard College. His books include Charles Ives’s Concord, No Such Thing as Silence: John Cage’s 4’33”, and Robert Ashley.

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HOT FEET AND SOCIAL CHANGE

African Dance and Diaspora Communities

Edited by KARIAMU WELSH, ESAILAMA G. A. DIOUF, and YVONNE DANIEL Foreword by Thomas F. DeFrantz Preface by Danny Glover, Harry Belafonte, and James Counts Early Indelible stories of living African dance within the African diaspora “Many of the authors are themselves the sources of both dance traditions created within the last decades and of significant studies about them. This work is unprecedented and, thanks to its insider perspectives, only possible as the editors have constructed it.” —SHEILA S. WALKER, editor of African Roots, American Cultures: Africa in the Creation of the Americas

328 PAGES. 6 X 9 INCHES 11 COLOR PHOTOGRAPHS, 5 BLACK & WHITE PHOTOGRAPHS, 2 LINE DRAWINGS, 2 MAPS, 2 CHARTS, 1 MUSIC EXAMPLE

The popularity and profile of African dance have exploded across the African diaspora in the last fifty years. Hot Feet and Social Change presents traditionalists, neo-traditionalists, and contemporary artists, teachers, and scholars telling some of the thousands of stories lived and learned by people in the field. Concentrating on eight major cities in the United States, the essays explode myths about African dance while demonstrating its power to awaken identity, self-worth, and community respect. These voices of experience share personal accounts of living African traditions, their first encounters with and ultimate embrace of dance, and what teaching African-based dance has meant to them and their communities. Throughout, the editors alert readers to established and ongoing research and provide links to critical contributions by African and Caribbean dance experts.

HARDCOVER, 978-0-252-04295-9 $125.00x £79.00 PAPER, 978-0-252-08477-5 $30.00x £20.99 E-BOOK, 978-0-252-05181-4 Publication of this book was supported in part by the University of Illinois Press Fund for Anthropology.

Contributors: Ausettua Amor Amenkum, Abby Carlozzo, Steven Cornelius, Yvonne Daniel, Charles “Chuck” Davis, Esailama G. A. Diouf, Indira Etwaroo, Habib Iddrisu, Julie B. Johnson, C. Kemal Nance, Halifu Osumare, Amaniyea Payne, William SerranoFranklin, and Kariamu Welsh

All rights: University of Illinois

KARIAMU WELSH is a professor emerita of dance at Temple University. Her books include Umfundalai: An African Dance Technique. ESAILAMA G. A. DIOUF is the founding director of Bisemi Foundation Inc. and the Arts and Culture Consultant at the San Francisco Foundation. YVONNE DANIEL is a professor emerita of dance and Afro-American studies at Smith College. Her books include Dancing Wisdom: Embodied Knowledge in Haitian Vodou, Cuban Yoruba, and Bahian Candomblé and Caribbean and Atlantic Diaspora Dance: Igniting Citizenship. www.press.uillinois.edu

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A GURU’S JOURNEY

Pandit Chitresh Das and Indian Classical Dance in Diaspora

SARAH MORELLI The work and art of a dance master in America “Morelli has crafted a narrative filled with powerful historical, biographical, and musical insights while also capturing the human dimensions of musical performance and transmission. An exciting contribution to the ethno musicological literature and a striking study of issues surrounding migration, ethnicity, and gender.” —KAY KAUFMAN SHELEMAY, author of Soundscapes: Exploring Music in a Changing World, third edition An important modern exponent of Asian dance, Pandit Chitresh Das brought kathak to the United States in 1970. The North Indian classical dance has since become an important art form within the greater Indian diaspora. Yet its adoption outside of India raises questions about what happens to artistic practices when we separate them from their broader cultural contexts.

270 PAGES. 6.125 X 9.25 INCHES 38 BLACK & WHITE PHOTOGRAPHS, 32 MUSIC EXAMPLES, 3 TABLES

A Guru’s Journey provides an ethnographic study of the dance form in the San Francisco Bay Area community formed by Das. Sarah Morelli, a kathak dancer and former Das student, investigates issues in teaching, learning, and performance that developed around Das during his time in the United States. In modifying kathak’s form and teaching for Western students, Das negotiates questions of Indianness and non-Indianness, gender, identity, and race. Morelli lays out these discussions for readers with the goal of deepening their knowledge of kathak aesthetics, technique, and theory. She also shares the intricacies of footwork, facial expression in storytelling, and other aspects of kathak while tying them to the cultural issues that inform the dance.

HARDCOVER, 978-0-252-04286-7 $110.00x £88.00 PAPER, 978-0-252-08468-3 $28.00x £20.99 E-BOOK, 978-0-252-05172-2 A volume in the series Music in American Life Publication of this book is supported by grants from the University of Denver’s Lamont School of Music and the AHSS Book Publication Support Fund and from the AMS 75 PAYS Endowment of the American Musicological Society, funded in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation.

SARAH MORELLI is an associate professor of ethnomusicology at the University of Denver and a performing kathak artist.

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JOSEPHINE BAKER AND KATHERINE DUNHAM

Dances in Literature and Cinema

HANNAH DURKIN Two great artists creating new visions of black womanhood “Josephine Baker and Katherine Dunham is a tour-de-force brilliantly analyzing the cinematic depictions in a black Atlantic context. The full implications of the European depictions of these wonderful dancers is teased out through exhaustive attention to dancing techniques, cinematography, and the two women’s autobiographical writings. A must-read for all scholars of African American performance and cultural politics.” —ALAN RICE, author of Creating Memorials, Building Identities: The Politics of Memory in the Black Atlantic 272 PAGES. 6 X 9 INCHES 20 BLACK & WHITE PHOTOGRAPHS

Josephine Baker and Katherine Dunham were the two most acclaimed and commercially successful African American dancers of their era and among the first black women to enjoy international screen careers. Both also produced fascinating memoirs that provided vital insights into their artistic philosophies and choices. However, difficulties in accessing and categorizing their works on the screen and on the page have obscured their contributions to film and literature.

HARDCOVER, 978-0-252-04262-1 $99.00x £79.00 PAPER, 978-0-252-08445-4 $27.95s £20.99

Hannah Durkin investigates Baker’s and Dunham’s films and writings to shed new light on their legacies as transatlantic artists and civil rights figures. Their trailblazing dancing and choreography reflected a belief that they could use film to confront racist assumptions while also imagining—within significant confines— new aesthetic possibilities for black women. Their writings, meanwhile, revealed their creative process, engagement with criticism, and the ways each mediated cultural constructions of black women’s identities. Durkin pays particular attention to the ways dancing bodies function as ever-changing signifiers and de-stabilizing transmitters of cultural identity. In addition, she offers an overdue appraisal of Baker’s and Dunham’s places in cinematic and literary history.

E-BOOK, 978-0-252-05146-3 All rights: University of Illinois

HANNAH DURKIN is a lecturer in literature and film at Newcastle University. She is a coeditor of Visualising Slavery: Art Across the African Diaspora.

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UNSETTLED SCORES

Politics, Hollywood, and the Film Music of Aaron Copland and Hanns Eisler

SALLY BICK Two legendary composers and high art’s uneasy partnership with Hollywood “Sally Bick has given us a thoughtful, fair-minded, and unfailingly engaging study of radical undercurrents in 1930s and 1940s Hollywood, with an emphasis on two very different composers, Aaron Copland and Hanns Eisler. Bick has the rare ability to write about abstract and technical aspects of music in a manner that will enlighten both scholar and general listener.” —TIM PAGE, winner of the Pulitzer Prize for criticism The Hollywood careers of Aaron Copland and Hanns Eisler brought the composers and their high art sensibility into direct conflict with the premier producer of America’s potent mass culture. Drawn by Hollywood’s potential to reach—and edify—the public, Copland and Eisler expertly wove sophisticated musical ideas into Hollywood and, each in his own distinctive way, left an indelible mark on movie history.

258 PAGES. 6 X 9 INCHES 1 COLOR PHOTOGRAPH, 10 BLACK & WHITE PHOTOGRAPHS, 12 MUSIC EXAMPLES, 4 TABLES

HARDCOVER, 978-0-252-04281-2 $99.00x £79.00

Sally Bick’s dual study of Copland and Eisler pairs interpretations of their writings on film composing with a close examination of their first Hollywood projects: Eisler’s score for Hangmen Also Die! and Copland’s music for Of Mice and Men. Bick illuminates the different ways the two composers treated a film score as means of expressing their political ideas on society, capitalism, and the human condition. She also delves into their often conflicted attempts to adapt their music to fit Hollywood’s commercial demands, an enterprise that took place even as they wrote hostile critiques of the film industry.

PAPER, 978-0-252-08464-5 $28.00x £20.99 E-BOOK, 978-0-252-05167-8 A volume in the series Music in American Life Publication of this book was supported by a grant from the Henry and Edna Binkele Classical Music Fund.

SALLY BICK is an associate professor of music at the University of Windsor.

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NEW IN PAPER

GEORGE SZELL’S REIGN

Behind the Scenes with the Cleveland Orchestra

MARCIA HANSEN KRAUS Shaping dissonance into beauty with the master conductor “The author gives us an entertaining and revealing picture of Szell working with his musicians over the years. After you read this, you will know him better than if it had been a mere biography. When you finish a chapter, you are eager to go on to the next because it’s a fascinating tale—and sometimes it’s even rather amazing.” —AMERICAN RECORD GUIDE George Szell was the Cleveland Orchestra’s towering presence for over a quarter of a century. From the boardroom to the stage, Szell’s powerful personality affected every aspect of a musical institution he reshaped in his own perfectionist image. 272 PAGES. 6 X 9 INCHES 33 BLACK & WHITE PHOTOGRAPHS, 1 MUSIC EXAMPLE

Marcia Hansen Kraus’s participation in Cleveland’s classical musical scene allowed her an intimate view of Szell and his achievements. A musician herself and married to an oboist who worked under Szell, Kraus pulls back the curtain on this storied era through fascinating interviews with orchestra musicians and patrons. Their recollections combine with Kraus’s own to paint a portrait of a multifaceted individual who both earned and transcended his tyrannical reputation. If some musicians hated Szell, others loved him or at the least respected his fair-minded toughness. A great many remember playing under his difficult leadership as the high point in their professional lives.

PAPER, 978-0-252-08481-2 $24.95 £18.99

Filled with vivid backstage stories, George Szell’s Reign reveals the human side of a great orchestra—and how one visionary built a premier classical music institution.

All rights: University of Illinois

E-BOOK, 978-0-252-09991-5 A volume in the series Music in American Life

MARCIA HANSEN KRAUS is a musician and composer in Cleveland, Ohio.

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OVER HERE, OVER THERE

Transatlantic Conversations on the Music of World War I

Edited by WILLIAM BROOKS, CHRISTINA BASHFORD, and GAYLE MAGEE Enlisting music to fight the war to end all wars “With its stimulating blend of revealing music interpretation and compelling historical context, this volume brings the music of World War I to life in fascinating detail.” —CHRISTINA BAADE, author of Victory through Harmony: The BBC and Popular Music in World War II During the Great War, composers and performers created music that expressed common sentiments like patriotism, grief, and anxiety. Yet music also revealed the complexities of the partnership between France, Great Britain, Canada, and the United States. Sometimes, music reaffirmed a commitment to the shared wartime mission. At other times, it reflected conflicting views about the war from one nation to another or within a single nation.

266 PAGES. 6.125 X 9.25 INCHES 23 BLACK & WHITE PHOTOGRAPHS, 16 CHARTS, 10 MUSIC EXAMPLES

Over Here, Over There examines how composition, performance, publication, recording, censorship, and policy shaped the Atlantic allies’ musical response to the war. The first section of the collection offers studies of individuals. The second concentrates on communities, whether local, transnational, or on the spectrum in between. Essay topics range from the sinking of the Lusitania through transformations of the entertainment industry to the influenza pandemic.

HARDCOVER, 978-0-252-04270-6 $99.00x £79.00 PAPER, 978-0-252-08454-6 $30.00x £22.99 E-BOOK, 978-0-252-05156-2.

Contributors: Christina Bashford, William Brooks, Deniz Ertan, Barbara L. Kelly, Kendra Preston Leonard, Gayle Magee, Jeffrey Magee, Michelle Meinhart, Brian C. Thompson, and Patrick Warfield

Publication of this book was supported in part by the Otto Kinkeldey Endowment of the American Musicological Society, funded in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation.

WILLIAM BROOKS is a professor of music at the University of York and an associate professor emeritus of composition at the University of Illinois at Urbana-Champaign. CHRISTINA BASHFORD is an associate professor of musicology at the University of Illinois at Urbana-Champaign, and the author of The Pursuit of High Culture: John Ella and Chamber Music in Victorian London. GAYLE MAGEE is a professor of musicology at the University of Illinois at Urbana-Champaign, and the author of Charles Ives Reconsidered.

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ISLAND GOSPEL

Pentecostal Music and Identity in Jamaica and the United States

MELVIN L. BUTLER A rare look at Jamaican Pentecostals and their music “Island Gospel is a much-needed and important contribution to Pentecostal studies and ethnomusicology. . . . The book offers insights that will be useful to scholars and students across a wide range of fields and disciplines.” —JOURNAL OF FOLKLORE RESEARCH

“The most extensive ethnographic study to date of Pentecostal music practices. The author’s perspective as a practicing believer and respected ethnomusicologist provides unprecedented access to the community and a deep understanding of Pentecostal traditions and discourses.” —JUDAH COHEN, author of Jewish Liturgical Music in Nineteenth-Century America

224 PAGES. 6 X 9 INCHES 4 BLACK & WHITE PHOTOGRAPHS

Pentecostals throughout Jamaica and the Jamaican diaspora use music to declare what they believe and where they stand in relation to religious and cultural outsiders. Yet the inclusion of secular music forms like ska, reggae, and dancehall complicates music’s place in social and ritual practice, challenging Jamaican Pentecostals to reconcile their religious and cultural identities.

HARDCOVER, 978-0-252-04290-4 $99.00x £79.00 PAPER, 978-0-252-08472-0 $25.00x £18.99

Melvin L. Butler journeys into this crossing of boundaries and its impact on Jamaican congregations and the music they make. Using the concept of flow, Butler’s ethnography evokes both the experience of Spirit-influenced performance and the transmigrations that fuel the controversial sharing of musical and ritual resources between Jamaica and the United States. Highlighting constructions of religious and cultural identity, Butler illuminates music’s vital place in how the devout regulate spiritual and cultural flow while striving to maintain both the sanctity and fluidity of their evolving tradition.

E-BOOK, 978-0-252-05176-0 A volume in the series African American Music in Global Perspective, edited by Portia K. Maultsby Publication of this book is supported by a grant from the Bruno Nettl Endowment for Ethnomusicology.

Insightful and original, Island Gospel tells the many stories of how music and religious experience unite to create a sense of belonging among Jamaican people of faith.

All rights: University of Illinois

MELVIN L. BUTLER is an associate professor of musicology at the Frost School of Music at the University of Miami and a saxophonist with Brian Blade and the Fellowship Band and many other artists.

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GAMELAN GIRLS

Gender, Childhood, and Politics in Balinese Music Ensembles

SONJA LYNN DOWNING The girls and young women reshaping gamelan in Bali “Downing effectively grounds her main argument and supporting points through analysis of her rich ethnographic data. Not only am I convinced, but I felt like I was in Bali with her, meeting her consultants, hearing them speak, getting a sense of their personalities, and watching them grow and mature.” —CHRISTINA SUNARDI, author of Stunning Males and Powerful Females: Gender and Tradition in East Javanese Dance In recent years, girls’ and mixed-gender ensembles have challenged the tradition of male-dominated gamelan performance. The change heralds a fundamental shift in how Balinese think about gender roles and the gender behavior taught in children’s music education. It also makes visible a national reorganization of the arts taking place within debates over issues like women’s rights and cultural preservation.

254 PAGES. 6 X 9 INCHES 21 BLACK & WHITE PHOTOGRAPHS, 1 LINE DRAWING, 2 MAPS, 1 TABLE

Sonja Lynn Downing draws on over a decade of immersive ethnographic work to analyze the ways Balinese musical practices have influenced the processes behind these dramatic changes. As Downing shows, girls and young women assert their agency within the gamelan learning process to challenge entrenched notions of performance and gender. One dramatic result is the creation of new combinations of femininity, musicality, and Balinese identity that resist messages about gendered behavior from the Indonesian nation-state and beyond. Such experimentation expands the accepted gender aesthetics of gamelan performance but also sparks new understanding of the role children can and do play in ongoing debates about identity and power.

HARDCOVER, 978-0-252-04271-3 $99.00x £79.00 PAPER, 978-0-252-08455-3 $28.00x £20.99 E-BOOK, 978-0-252-05157-9 A volume in the series New Perspectives on Gender in Music, edited by Suzanne Cusick and Henry Spiller

SONJA LYNN DOWNING is an associate professor of ethnomusicology at Lawrence University.

Publication of this book is supported by a grant from the Bruno Nettl Endowment for Ethnomusicology. All rights: University of Illinois

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THE CASHAWAY PSALMODY Transatlantic Religion and Music in Colonial Carolina

STEPHEN A. MARINI Reviving spirit and music from the pages of a once-lost text “Offering a microhistory of meticulous precision, Marini forges through it a study of broad interdisciplinary scope, a rare synthesizing perspective on the musical, religious, commercial, and educational cultures of the eighteenth-century colonies. I know of no one else in the field who could have pulled off this feat the way Marini has— an exceptional combination of indefatigable archival research with practiced musical expertise.” —LEIGH ERIC SCHMIDT, author of Restless Souls: The Making of American Spirituality Singing master Durham Hills created The Cashaway Psalmody to give as a wedding present in 1770. A collection of tenor melody parts for 152 tunes and sixty-three texts, the Psalmody is the only surviving tunebook from the colonial-era South and one of the oldest sacred music manuscripts from the Carolinas. It is all the more remarkable for its sophistication: no similar document of the period matches Hills’s level of musical expertise, reportorial reach, and calligraphic skill.

478 PAGES. 6.125 X 9.25 INCHES 14 BLACK & WHITE PHOTOGRAPHS, 2 MAPS, 3 CHARTS, 36 MUSIC EXAMPLES, 2 TABLES

HARDCOVER, 978-0-252-04284-3 $65.00x £52.00

Stephen A. Marini, discoverer of The Cashaway Psalmody, offers the fascinating story of the tunebook and its many meanings. From its musical, literary, and religious origins in England, he moves on to the life of Durham Hills; how Carolina communities used the book; and the Psalmody’s significance in understanding how ritual song—transmitted via transatlantic music, lyrics, and sacred singing—shaped the era’s development. Marini also uses close musical and textual analyses to provide a critical study that offers music historians and musicologists valuable insights on the Psalmody and its period.

E-BOOK, 978-0-252-05170-8 A volume in the series Music in American Life Publication of this book was supported by the Lloyd Hibberd Endowment of the American Musicological Society, funded in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation.

Meticulous in presentation and interdisciplinary in scope, The Cashaway Psalmody unlocks an important source for understanding life in the Lower South in the eighteenth century.

All rights: University of Illinois

STEPHEN A. MARINI is the Elisabeth Luce Moore Professor of Christian Studies and a professor of American religion and ethics at Wellesley College. He is the author of Sacred Song in America: Religion, Music, and Public Culture and contributing editor for sacred music for The Grove Dictionary of American Music, second edition, and singing-master of Norumbega Harmony, a choral ensemble specializing in eighteenth-century AngloAmerican psalmody.

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LEONARD BERNSTEIN AND THE LANGUAGE OF JAZZ KATHERINE BABER Shaping jazz into symphonies and show tunes—only in America “Baber offers compelling evidence of the composer’s integration of jazz and blues into his wide-ranging work.” —LIBRARY JOURNAL

“Baber’s discussions of Bernstein’s music are well- researched, cogent, and thoughtful. . . . A firm foundation on which to further investigate Bernstein’s music and from a variety of angles.” —ARTS FUSE Leonard Bernstein’s gifts for drama and connecting with popular audiences made him a central figure in twentieth-century American music. Though a Bernstein work might reference anything from modernism to cartoon ditties, jazz permeated every part of his musical identity as a performer, educator, and intellectual.

290 PAGES. 6 X 9 INCHES 22 MUSIC EXAMPLES, 1 TABLE

HARDCOVER, 978-0-252-04237-9 $110.00x £88.00

Katherine Baber investigates how jazz in its many styles served Bernstein as a flexible, indeed protean, musical idea. As she shows, Bernstein used jazz to signify American identity with all its tensions and contradictions and to articulate community and conflict, irony and parody, and timely issues of race and gender. Baber provides a thoughtful look at how Bernstein’s use of jazz grew out of his belief in the primacy of tonality, music’s value as a unique form of human communication, and the formation of national identity in music. She also offers in-depth analyses of On the Town, West Side Story, 1600 Pennsylvania Avenue, and other works to explore fascinating links between Bernstein’s art and issues like eclecticism, music’s relationship to social engagement, black-Jewish relations, and his own musical identity.

PAPER, 978-0-252-08416-4 $27.95s £20.99 E-BOOK, 978-0-252-05121-0 A volume in the series Music in American Life Publication of this book was supported by a grant from the Henry and Edna Binkele Classical Music Fund, and from the AMS 75 PAYS Endowment of the American Musicological Society, funded in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation.

KATHERINE BABER is an associate professor of music history at the University of Redlands.

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DANCING REVOLUTION

Bodies, Space, and Sound in American Cultural History

CHRISTOPHER J. SMITH Using dance as a political language to unite and resist “A respected musicologist and vernacular musician, Smith offers a sprawling overview of vernacular dance in the US as evidence of people’s ‘contesting, constructing, and reinventing social orders’. Highly recommended.” —CHOICE

“A very ambitious and impressive study. The breadth and scope of the book are remarkable. It is highly engaging and readable and expands our understanding of the potential of dance (and music/sound) to serve as a potent force for social engagement.” —JULIE MALNIG, editor of Ballroom, Boogie, Shimmy Sham, Shake: A Social and Popular Dance Reader

280 PAGES. 6.125 X 9.25 INCHES 20 BLACK & WHITE PHOTOGRAPHS, 5 MUSIC EXAMPLES

Throughout American history, patterns of political intent and impact have linked the wide range of dance movements performed in public places. Groups diverse in their cultural or political identities, or in both, long ago seized on street dancing, marches, open-air revival meetings, and theaters, as well as in dance halls and nightclubs, as a tool for contesting, constructing, or reinventing the social order.

HARDCOVER, 978-0-252-04239-3 $110.00x £88.00 PAPER, 978-0-252-08418-8 $27.95s £20.99

Dancing Revolution presents richly diverse case studies to illuminate these patterns of movement and influence in movement and sound in the history of American public life. Christopher J. Smith spans centuries, geographies, and cultural identities as he delves into a wide range of historical moments. These include the Godintoxicated public demonstrations of Shakers and Ghost Dancers in the First and Second Great Awakenings; creolized antebellum dance in cities from New Orleans to Bristol; the modernism and racial integration that imbued twentieth-century African American popular dance; the revolutionary connotations behind images of dance from Josephine Baker to the Marx Brothers; and public movement’s contributions to hip hop, antihegemonic protest, and other contemporary transgressive communities’ physical expressions of dissent and solidarity.

E-BOOK, 978-0-252-05123-4 A volume in the series Music in American Life All rights: University of Illinois

Multidisciplinary and wide-ranging, Dancing Revolution examines how Americans turned the rhythms of history into the movement behind the movements. CHRISTOPHER J. SMITH is a professor, chair of musicology, and founding director of the Vernacular Music Center at the Texas Tech University School of Music. He is the author of the award-winning book The Creolization of American Culture: William Sidney Mount and the Roots of Blackface Minstrelsy. www.press.uillinois.edu

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CULTURAL SUSTAINABILITIES Music, Media, Language, Advocacy

Edited by TIMOTHY J. COOLEY Foreword by Jeff Todd Titon A daring interdisciplinary journey into the nexus of the humanities and ecological science “Written to introduce the reader to the universal practice of ‘musicking’ and the influence of real-time environmental upheaval on its conception and performance, and the physical and technological systems that support and maintain its integrity, the scope and scale of the literature illuminates the immense challenges of survival in a time of climatic upheaval.” —ENVIRONMENTAL VALUES

“Cultural Sustainabilities is a must-read for those interested in ecomusicology and will serve as a valuable resource for scholars in the environmental humanities writ large. . . . Students encountering Cultural Sustainabilities will be inspired to explore, advocate, and create a more equitable and pleasurable ‘sound commons.’ ” —MARK PEDELTY, author of A Song to Save the Salish Sea: Musical Performance as Environmental Activism

364 PAGES. 6.125 X 9.25 INCHES 19 BLACK & WHITE PHOTOGRAPHS, 3 CHARTS, 1 MUSIC EXAMPLE

Environmental sustainability and human cultural sustainability are inextricably linked. Reversing damaging human impact on the global environment is ultimately a cultural question, and as with politics, the answers are often profoundly local. Timothy J. Cooley presents twenty-three essays by musicologists and ethnomusicologists, anthropologists, folklorists, ethnographers, documentary filmmakers, musicians, artists, and activists, each asking a particular question or presenting a specific local case study about cultural and environmental sustainability. Contributing to the environmental humanities, the authors embrace and even celebrate human engagement with ecosystems, though with a profound sense of collective responsibility created by the emergence of the Anthropocene.

HARDCOVER, 978-0-252-04236-2 $110.00x £88.00 PAPER, 978-0-252-08415-7 $32.00x £24.99 E-BOOK, 978-0252-05120-3 Publication supported by funding from the Division of Humanities and Fine Arts, University of California, Santa Barbara.

Contributors: Aaron S. Allen, Michael B. Bakan, Robert Baron, Daniel Cavicchi, Timothy J. Cooley, Mark F. DeWitt, Barry Dornfeld, Thomas Faux, Burt Feintuch, Nancy Guy, Mary Hufford, Susan Hurley-Glowa, Patrick Hutchinson, Michelle Kisliuk, Pauleena M. MacDougall, Margarita Mazo, Dotan Nitzberg, Jennifer C. Post, Tom Rankin, Roshan Samtani, Jeffrey A. Summit, Jeff Todd Titon, Joshua Tucker, Rory Turner, Denise Von Glahn, and Thomas Walker

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TIMOTHY J. COOLEY is a professor of music and global studies at the University of California, Santa Barbara. He is the author of Surfing about Music and Making Music in the Polish Tatras: Tourists, Ethnographers, and Mountain Musicians.

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LIVING ETHNOMUSICOLOGY Paths and Practices

MARGARET SARKISSIAN and TED SOLÍS Foreword by Bruno Nettl Afterthoughts by Mark Slobin The first-ever ethnography of the discipline “Living Ethnomusicology: Paths and Practices is ultimately an interesting and unique contribution to the discipline.” —JOURNAL OF FOLKLORE RESEARCH

“This is a brilliant and original idea for a volume. The book focuses on nearly all aspects of the field, including most of the possible careers. As such, it is extraordinary and makes conclusive statements about what ethnomusicology is and who ethnomusicologists are.” —DAVID HARNISH, author of Bridges to the Ancestors: Music, Myth, and Cultural Politics at an Indonesian Festival

504 PAGES. 7 X 10 INCHES 52 BLACK & WHITE PHOTOGRAPHS

Ethnomusicologists have journeyed from Bali to Morocco to the depths of Amazonia to chronicle humanity’s relationship with music. Margaret Sarkissian and Ted Solís guide us into the field’s last great undiscovered country: ethnomusicology itself. Drawing on fieldwork based on person-to-person interaction, the authors provide a first-ever ethnography of the discipline. The unique collaborations produce an ambitious exploration of ethnomusicology’s formation, evolution, practice, and unique identity. In particular, the subjects discuss their early lives and influences and trace their varied career trajectories. They also draw on their own experiences to offer reflections on all aspects of the field. Pursuing practitioners not only from diverse backgrounds and specialties but from different eras, Sarkissian and Solís illuminate the many trails ethnomusicologists have blazed in the pursuit of knowledge.

HARDCOVER, 978-0-252-04234-8 $125.00x £100.00 PAPER, 978-0-252-08413-3 $32.00x £24.99 E-BOOK, 978-0-252-05118-0 Publication of this book is supported by grants from the Quitiplás Foundation, the Provost’s Office at Smith College, Arizona State University’s Herberger Institute for Design and the Arts, and the Arizona State University School of Music.

A bountiful resource on history and practice, Living Ethnomusicology is an enlightening intellectual exploration of an exotic academic culture.

All rights: University of Illinois

MARGARET SARKISSIAN is a professor of music at Smith College. She is the author of D’Albuquerque’s Children: Performing Tradition in Malaysia’s Portuguese Settlement. TED SOLÍS is a professor of music at Arizona State University. He is the editor of Performing Ethnomusicology: Teaching and Representation in World Musics.

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RITUAL SOUNDINGS

Women Performers and World Religions

SARAH WEISS Representing women’s traditions and re-envisioning comparative practices “As I read along, I found myself smiling and nodding at the text’s cleverness and its validating evidence for women’s agency in the performance of scandalous ‘soundings’ of protest and dissent. This is a fascinating, well-written, and extraordinarily well-researched book.” —ELLEN KOSKOFF, author of A Feminist Ethnomusicology: Writings on Music and Gender

“This study is a treasure trove of marriage-rituals that women perform within the context of the world religion they are affiliated to. It is a pleasure to savour the presentation of their variety.” —RELIGION AND GENDER 198 PAGES. 6 X 9 INCHES 1 BLACK & WHITE PHOTOGRAPH, 1 TABLE

The women of communities in Hindu India and Christian Orthodox Finland alike offer lamentations and mockery during wedding rituals. Catholic women of southern Italy perform tarantella on pilgrimages while Muslim Berger girls recite poetry at Moroccan weddings. Around the world, women actively claim agency through performance during such ritual events. These moments, though brief, allow them a rare freedom to move beyond culturally determined boundaries.

HARDCOVER, 978-0-252-04229-4 $99.00x £79.00 PAPER, 978-0-252-08408-9 $25.00x £18.99

In Ritual Soundings, Sarah Weiss reads deeply into and across the ethnographic details of multiple studies while offering a robust framework for studying music and world religion. Her meta-ethnography reveals surprising patterns of similarity between unrelated cultures. Deftly blending ethnomusicology, the study of gender in religion, and sacred music studies, she invites ethnomusicologists back into comparative work, offering them encouragement to think across disciplinary boundaries. As Weiss delves into a number of less-studied rituals, she offers a forceful narrative of how women assert agency within institutional religious structures while remaining faithful to the local cultural practices the rituals represent.

E-BOOK, 978-0-252-05113-5 A volume in the series New Perspectives on Gender in Music, edited by Suzanne Cusick and Henry Spiller Publication of this book is supported by the Lloyd Hibberd Endowment of the American Musicological Society, funded in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation.

SARAH WEISS is a senior research scientist at the Institute for Ethnomusicology at the University of Music and Performing Arts in Graz (Kunst Universität Graz). She is the author of Listening to an Earlier Java: Aesthetics, Gender, and the Music of Wayang in Central Java.

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PEGGY GLANVILLE-HICKS

Composer and Critic

SUZANNE ROBINSON A unique woman’s unstoppable journey to the center of American music “Robinson is especially good at making period and place come alive for the reader. The book should richly reward any reader who wants to explore American musical and literary history in this period—and the people who made it and lived it.” —AMERICAN RECORD GUIDE As both composer and critic, Peggy Glanville-Hicks contributed to the astonishing cultural ferment of the mid-twentieth century. Her forceful voice as a writer and commentator helped shape professional and public opinion on the state of American composing. The seventy musical works she composed ranged from celebrated operas like Nausicaa to intimate, jewel-like compositions created for friends. Her circle included figures like Virgil Thomson, Paul Bowles, John Cage, and Yehudi Menuhin.

338 PAGES. 6.125 X 9.25 INCHES 26 BLACK & WHITE PHOTOGRAPHS

Drawing on interviews, archival research, and fifty-four years of extraordinary pocket diaries, Suzanne Robinson places Glanville-Hicks within the history of American music and composers. “P.G.H.” forged alliances with power brokers and artists that gained her entrance to core American cultural entities such as the League of Composers, New York Herald Tribune, and the Harkness Ballet. Yet her impeccably cultivated public image concealed a private life marked by unhappy love affairs, stubborn poverty, and the painstaking creation of her artistic works.

HARDCOVER, 978-0-252-04256-0 $110.00x £88.00 PAPER, 978-0-252-08439-3 $30.00x £22.99 E-BOOK, 978-0-252-05140-1 A volume in the series Music in American Life

Evocative and intricate, Peggy Glanville-Hicks clears away decades of myth and storytelling to provide a portrait of a remarkable figure and her times.

Publication of this book was supported in part by grants from the Henry and Edna Binkele Classical Music Fund and from the Manfred Bukofzer Endowment of the American Musicological Society, funded in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation.

SUZANNE ROBINSON is on the faculty of the Melbourne Conservatorium of Music, Australia. She is a coeditor of several books, including Grainger the Modernist.

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RETHINKING AMERICAN MUSIC Edited by TARA BROWNER and THOMAS L. RIIS Eclectic topics, cutting-edge research, and America’s musical heritage “Rethinking American Music demonstrates the diversity of current scholarship on American music culture.” —CHOICE

“A marvelous compendium of scholarship in American music, this book illustrates the wondrous diversity of American musical culture from the eighteenth century to today. Essays on classical, sacred, popular, jazz, hip hop, and theatrical styles deal with performance, patronage, identity, and ethnography and illustrate wonderfully the breadth of Richard Crawford’s enormous legacy in the field of Americanist music studies.” —KATHERINE K. PRESTON, author of Opera for the People: EnglishLanguage Opera and Women Managers in Late 19th-Century America

384 PAGES. 6.125 X 9.25 INCHES 3 BLACK & WHITE PHOTOGRAPHS, 32 MUSIC EXAMPLES, 4 TABLES

In Rethinking American Music, Tara Browner and Thomas L. Riis curate essays that offer an eclectic survey of current music scholarship. Ranging from Tin Pan Alley to Thelonious Monk to hip hop, the contributors go beyond repertory and biography to explore four critical yet overlooked areas: the impact of performance; patronage’s role in creating music and finding a place to play it; personal identity; and the ways cultural and ethnographic circumstances determine the music that emerges from the creative process. Many of the articles also look at how a piece of music becomes initially popular and then exerts a lasting influence in the larger global culture. The result is an insightful state-of-the-field examination that doubles as an engaging short course on our complex, multifaceted musical heritage.

HARDCOVER, 978-0-252-04232-4 $110.00x £88.00 PAPER, 978-0-252-08410-2 $35.00x £26.99 E-BOOK, 978-0-252-05115-9 A volume in the series Music in American Life

Contributors: Karen Ahlquist, Amy C. Beal, Mark Clague, Esther R. Crookshank, Todd Decker, Jennifer DeLapp-Birkett, Joshua S. Duchan, Mark Katz, Jeffrey Magee, Sterling E. Murray, Guthrie P. Ramsey Jr., David Warren Steel, Jeffrey Taylor, and Mark Tucker

Publication of this book is supported by the Lloyd Hibberd Endowment of the American Musicological Society, funded in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation.

TARA BROWNER is a professor of ethnomusicology at the University of California, Los Angeles. Her books include Heartbeat of the People: Music and Dance in the Northern Pow-Wow. THOMAS L. RIIS is Professor of Music Emeritus and former director of the American Music Research Center at the University of Colorado, Boulder. He is the author of Frank Loesser.

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FROM SCRATCH

Writings in Music Theory

JAMES TENNEY Edited by Larry Polansky, Lauren Pratt, Robert Wannamaker, and Michael Winter Writings from a giant of avant-garde composing “If you want to encounter one of the major thinkers of twentieth century music, James Tenney’s writing is worth getting to know, and if you’re at all interested in the history of music technology and its development, his writing is essential.” —SOUND BYTES MAGAZINE One of the twentieth century’s most important musical thinkers, James Tenney did pioneering work in multiple fields, including computer music, tuning theory, and algorithmic and computer-assisted composition. From Scratch arranges, edits, and revises Tenney’s hard-to-find writings into one indispensable collection. Selections focus on his fundamental concerns—”what the ear hears”—and include thoughts and ideas on perception and form, tuning systems and especially just intonation, information theory, theories of harmonic space, and stochastic (chance) procedures of composition.

504 PAGES. 6.125 X 9.25 INCHES 36 MUSIC EXAMPLES, 8 TABLES

PAPER, 978-0-252-08437-9 $35.00x £26.99 E-BOOK, 978-0-252-09667-9 All rights: University of Illinois

JAMES TENNEY was a prolific and important experimental composer, theorist, writer, and performer. His books include Meta + Hodos: A Phenomenology of Twentieth-Century Musical Materials and an Approach to the Study of Form. LARRY POLANSKY is Professor of Music at the University of California, Santa Cruz, Emeritus Strauss Professor of Music at Dartmouth College, and founding editor of the Leonardo Music Journal. LAUREN PRATT is the associate producer of music at Roy and Edna Disney/CalArts Theater and executor of the Tenney estate. ROBERT WANNAMAKER is Associate Dean at the California Institute of the Arts, where he teaches music composition, theory, history, and literature. MICHAEL WINTER is a composer and founder and director of the wulf. in Los Angeles and helped complete Tenney’s final musical work, Arbor Vitae.

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MORMONS, MUSICAL THEATER, AND BELONGING IN AMERICA JAKE JOHNSON Using others’ voices to bring one closer to God “Through careful historiography and close attention to sound, Johnson expertly maps the intersections of voice studies, Mormon doctrine, race and religion, and the worlds of American musical theater. Mormons, Musical Theater, and Belonging in America convinces us that theology, theatricality, nationality, and vocality are entwined in Mormonism and extend in fascinating ways into American popular culture.” —JEFFERS ENGELHARDT, author of Singing the Right Way: Orthodox Christians and Secular Enchantment in Estonia 222 PAGES. 6 X 9 INCHES 5 BLACK & WHITE PHOTOGRAPHS, 12 MUSIC EXAMPLES

The Church of Jesus Christ of Latter-day Saints adopted the vocal and theatrical traditions of American musical theater as important theological tenets. As Church membership grew, leaders saw how the genre could help define the faith and wove musical theater into many aspects of Mormon life.

HARDCOVER, 978-0-252-04251-5 $99.00x £79.00

Jake Johnson merges the study of belonging in America with scholarship on voice and popular music to explore the surprising yet profound link between two quintessentially American institutions. Throughout the twentieth and twenty-first centuries, Mormons gravitated toward musicals as a common platform for transmitting political and theological ideas. Johnson sees Mormons using musical theater as a medium for theology of voice—a religious practice that suggests how vicariously voicing another person can bring one closer to godliness. This sounding, Johnson suggests, created new opportunities for living. Voice and the musical theater tradition provided a site for Mormons to negotiate their way into middle-class respectability. At the same time, musical theater became a unique expressive tool of Mormon culture.

PAPER, 978-0-252-08433-1 $25.00x £18.99 E-BOOK, 978-0-252-05136-4 A volume in the series Music in American Life All rights: University of Illinois

JAKE JOHNSON is an assistant professor of musicology in the Wanda L. Bass School of Music at Oklahoma City University.

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DIXIE DEWDROP

The Uncle Dave Macon Story

MICHAEL D. DOUBLER From Tennessee earth to hillbilly heaven with the grandfather of country music “An eminently readable chronicle.” —RAMBLES.NET

“Michael D. Doubler has given us a rich and highly nuanced portrait of the complex, highly gifted man who helped put country music on the map. As Macon’s great-grandson, Doubler was able to draw on family archives and reminiscences that might otherwise be unavailable, and his excellent writing skills have allowed him to weave this material together into a compelling and entertaining narrative.” —JOURNAL OF FOLKLORE RESEARCH 288 PAGES. 6 X 9 INCHES 36 BLACK & WHITE PHOTOGRAPHS, 2 CHARTS

One of the earliest performers on WSM in Nashville, Uncle Dave Macon became the Grand Ole Opry’s first superstar. His old-time music and energetic stage shows made him a national sensation and fueled a thirty-year run as one of America’s most beloved entertainers.

PAPER, 978-0-252-08365-5 $19.95 £15.99

Michael D. Doubler tells the amazing story of the Dixie Dewdrop, a country music icon. Born in 1870, David Harrison Macon learned the banjo from musicians passing through his parents’ Nashville hotel. After playing local shows in Middle Tennessee for decades, a big break led Macon to vaudeville, the earliest of his 200-plus recordings and eventually to national stardom. Uncle Dave—clad in his trademark plug hat and gates-ajar collar—soon became the face of the Opry itself with his spirited singing, humor, and array of banjo picking styles. For the rest of his life, he defied age to tour and record prolifically, manage his business affairs, mentor up-and-comers like David “Stringbean” Akeman, and play with the Delmore Brothers, Roy Acuff, and Bill Monroe.

E-BOOK, 978-0-252-05069-5 A volume in the series Music in American Life Publication of this book is supported by the Dragan Plamenac Endowment of the American Musicological Society, funded in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation, and by the Judith McCulloh Endowment for American Music.

MICHAEL D. DOUBLER is the great-grandson of Uncle Dave Macon. His books include Closing with the Enemy: How GIs Fought the War in Europe, 1944–1945 and Civilian in Peace, Soldier in War: The Army National Guard, 1636–2000.

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BILL MONROE

The Life and Music of the Blue Grass Man

TOM EWING From cradle to great, a chronicle of Bill Monroe’s epic life “Insightful . . . [Bill Monroe: The Life and Music of the Blue Grass Man] presents bluegrass history as it happened, as well as a fresh look at ‘this extraordinary individual.’” —WALL STREET JOURNAL

“This account bears witness to the gigantic achievement which was Bill Monroe’s music. His energy and creativity knew no bounds. This book successfully captures that.” —JIM ROONEY, Grammy-winning record producer and author of In It for the Long Run: A Musical Odyssey The Father of Bluegrass Music, Bill Monroe was a major star of the Grand Ole Opry for over fifty years, a member of the Country Music and Rock and Roll Halls of Fame, and a legendary figure in American music. This authoritative biography sets out to examine his life in careful detail—to move beyond hearsay and sensationalism to explain how and why he accomplished so much.

656 PAGES. 6.125 X 9.25 INCHES 30 BLACK & WHITE PHOTOGRAPHS

HARDCOVER, 978-0-252-04189-1 $34.95 £28.99 E-BOOK, 978-0-252-05058-9

Former Blue Grass Boy and veteran music journalist Tom Ewing draws on hundreds of interviews, his personal relationship with Monroe, and an immense personal archive of materials to separate the truth from longstanding myth. Ewing tells the story of the Monroe family’s musical household and Bill’s early career in the Monroe Brothers duo. He brings to life Monroe’s 1940s heyday with the Classic Bluegrass Band, the renewed fervor for his music sparked by the folk revival of the 1960s, and his declining fortunes in the years that followed. Throughout, Ewing deftly captures Monroe’s relationships and the personalities of an ever-shifting roster of band members while shedding light on his business dealings and his pioneering work with Bean Blossom and other music festivals.

A volume in the series Music in American Life Publication of this book is supported by the Otto Kinkeldey Endowment of the American Musicological Society, funded in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation, and by a grant from the L. J. and Mary C. Skaggs Folklore Fund.

Filled with a wealth of previously unknown details, Bill Monroe offers even the most devoted fan a deeper understanding of Monroe’s towering achievements and timeless music.

All rights: University of Illinois

TOM EWING was guitarist/lead singer of Bill Monroe and his Blue Grass Boys for ten years. He is the editor of The Bill Monroe Reader and wrote the “Thirty Years Ago This Month” column for Bluegrass Unlimited.

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THE MAN THAT GOT AWAY The Life and Songs of Harold Arlen

WALTER RIMLER The acclaimed biography of the master songsmith “Walter Rimler’s biography is not only chock-full of information but with intimate, carefully researched, and heretofore unknown details, making it one of the most entertaining and readable portraits of the wizard Arlen—one of songdom’s greatest composers—that has ever been written. This book does a remarkable thing—it allows words to describe music.” —MARTIN CHARNIN, Tony Award–winning creator and director of Annie ”Over the Rainbow,” ”Stormy Weather,” and “One for My Baby” are just a few of Harold Arlen’s well-loved compositions. Yet his name is hardly known—except to the musicians who venerate him. At a gathering of songwriters, George Gershwin called him “the best of us.” Irving Berlin agreed. Paul McCartney sent him a fan letter and became his publisher. Bob Dylan wrote of his fascination with Arlen’s “bittersweet, lonely world.”

248 PAGES. 6 X 9 INCHES 34 BLACK & WHITE PHOTOGRAPHS

PAPER, 978-0-252-08392-1 $19.95s £15.99 E-BOOK, 978-0-252-09757-7

A cantor’s son, Arlen believed his music was from a place outside himself, a place that also sent tragedy. When his wife became mentally ill and was institutionalized, he turned to alcohol. It nearly killed him. But the beautiful songs kept coming: “Blues in the Night,” “My Shining Hour,” “Come Rain or Come Shine,” and “The Man That Got Away.”

A volume in the series Music in American Life All rights: University of Illinois

Walter Rimler drew on interviews with friends and associates of Arlen and on newly available archives to write this intimate portrait of a genius whose work is a pillar of the Great American Songbook.

Winner of the ASCAP Foundation Deems Taylor/Virgil Thomson Award

WALTER RIMLER is the author of George Gershwin: An Intimate Portrait and Not Fade Away: A Comparison of Jazz Age with Rock Era Pop Song Composers.

Winner of the Timothy White Award for Outstanding Musical Biography in the pop music field

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VOICES OF DROUGHT

The Politics of Music and Environment in Northeastern Brazil

MICHAEL B. SILVERS How an environment creates popular music, and vice versa “This unique and timely work offers an important contribution to our understanding of how music and ecology are linked.” —JENNIFER C. POST, editor of Ethnomusicology: A Contemporary Reader, Volume II In Voices of Drought, Michael B. Silvers proposes a scholarship focused on environmental justice to understand key questions in the study of music and the environment. His ecomusicological perspective offers a fascinating approach to events in Ceará, a northeastern Brazilian state affected by devastating droughts. These crises have a profound impact on social difference and stratification, and thus on forró music in the sertão (backlands) of the region. At the same time, the complex interactions of popular music and social conditions also help create the environment.

212 PAGES. 6 X 9 INCHES 9 BLACK & WHITE PHOTOGRAPHS, 1 LINE DRAWING, 3 MAPS, 1 CHART

Silvers offers case studies focused on the sertão that range from the Brazilian wax harvested in Ceará for use in early wax cylinder sound recordings to the droughtand austerity-related cancellation of Carnival celebrations in 2014–16. Unearthing links between music and the environmental and social costs of drought, his daring synthesis explores ecological exile, poverty, and unequal access to water resources alongside issues like corruption, prejudice, unbridled capitalism, and expanding neoliberalism.

HARDCOVER, 978-0-252-04208-9 $99.00x £82.00 PAPER, 978-0-252-08377-8 $28.00x £22.99 E-BOOK, 978-0-252-05083-1

MICHAEL B. SILVERS is an assistant professor of musicology at the University of Illinois at Urbana-Champaign.

Publication of this book is supported by the Dragan Plamenac Endowment of the American Musicological Society, funded in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation, and by a grant from the University of Illinois at Urbana-Champaign College of Fine and Applied Arts. All rights: University of Illinois

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BACK TO THE DANCE ITSELF

Phenomenologies of the Body in Performance

Edited with Essays by SONDRA FRALEIGH New phenomenological perspectives on dance and human development “This beautiful collection is a choreography of voices emanating directly from movement. It celebrates Sondra Fraleigh’s lifetime of integrating philosophical knowledge with somatic experiences at the same time as providing an empathic space for the contributions of others. Pressing contemporary issues such as climate change, the vitality of matter, and escaping from anthropocentrism are addressed, revealing new resonances for the philosophy and practices of phenomenology.” —SUSAN KOZEL, author of Closer: Performance, Technologies, Phenomenology

312 PAGES. 6 X 9 INCHES 8 COLOR PHOTOGRAPHS, 59 BLACK & WHITE PHOTOGRAPHS, 1 TABLE

In Back to the Dance Itself, Sondra Fraleigh edits essays that illuminate how scholars apply a range of phenomenologies to explore questions of dance and the world; performing life and language; body and place; and self-knowing in performance. Some authors delve into theoretical perspectives, while others relate personal experiences and reflections that reveal fascinating insights arising from practice. Collectively, authors give particular consideration to the interactive lifeworld of making and doing that motivates performance. Their texts and photographs study body and the environing world through points of convergence, as correlates in elemental and constant interchange modeled vividly in dance. Selected essays on eco-phenomenology and feminism extend this view to the importance of connections with, and caring for, all life.

HARDCOVER, 978-0-252-04204-1 $99.00x £82.00 PAPER, 978-0-252-08373-0 $28.00x £22.99 E-BOOK, 978-0-252-05078-7 All rights: University of Illinois

Contributors: Karen Barbour, Christine Bellerose, Robert Bingham, Kara Bond, Hillel Braude, Sondra Fraleigh, Kimerer LaMothe, Joanna McNamara, Vida Midgelow, Ami Shulman, and Amanda Williamson. SONDRA FRALEIGH is a professor emeritus of the Department of Dance at State University of New York College at Brockport. She is the editor of Moving Consciously: Somatic Transformations through Dance, Yoga, and Touch and the author of Butoh: Metamorphic Dance and Global Alchemy.

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TRANSFORMING WOMEN’S EDUCATION

Liberal Arts and Music in Female Seminaries

JEWEL A. SMITH Groundbreaking schools at the forefront of musical and educational change “Jewel Smith has brilliantly illuminated an era in American educational history that was hitherto shrouded in darkness. Her assiduous research demonstrates the vital role played by female academies in the development of American democratic society and confirms the crucial place of music in these institutions.” —E. DOUGLAS BOMBERGER, author of Making Music American: 1917 and the Transformation of Culture Female seminaries in the nineteenth-century United States offered middle-class women the rare privilege of training in music and the liberal arts. A music background, in particular, provided the foundation for a teaching career, one of the few paths open to women.

292 PAGES. 6 X 9 INCHES 14 BLACK & WHITE PHOTOGRAPHS, 11 MUSIC EXAMPLES, 3 TABLES

HARDCOVER, 978-0-252-04224-9 $99.00x £82.00

Jewel A. Smith opens the doors of four female seminaries, revealing a milieu where rigorous training focused on music as an artistic pursuit rather than a social skill. Drawing on previously untapped archives, Smith charts women’s musical experiences and training as well as the curricula and instruction available to them, the repertoire they mastered, and the philosophies undergirding their education. She also examines the complex tensions between the ideals of a young democracy and a deeply gendered system of education and professional advancement.

PAPER, 978-0-252-08400-3 $28.00x £22.99 E-BOOK, 978-0-252-05107-4 A volume in the series Music in American Life

An in-depth study of female seminaries as major institutions of learning, Transforming Women’s Education illuminates how musical training added to women’s lives and how their artistic acumen contributed to American society.

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JEWEL A. SMITH is the author of Music, Women, and Pianos in Antebellum Bethlehem Pennsylvania: The Moravian Young Ladies’ Seminary.

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THE SOCIAL WORLDS OF NINETEENTH-CENTURY CHAMBER MUSIC

Composers, Consumers, Communities

MARIE SUMNER LOTT A musical culture’s influence on artists and works “This book is an extremely significant achievement. It is likely to attract the interest of a broader readership and is strongly recommended as a resource for both students and more-seasoned scholars. It is all too rare that one encounters a book that engages one’s avid interest throughout: this was one of those books.” —AD PARNASSUM 328 PAGES. 6.125 X 9.25 INCHES 5 BLACK & WHITE PHOTOGRAPHS, 2 CHARTS, 77 MUSIC EXAMPLES, 21 TABLES

Music played an important role in the social life of nineteenth-century Europe, and music in the home provided a convenient way to entertain and communicate among friends and colleagues. String chamber music, in particular, fostered social interactions that helped build communities within communities.

PAPER, 978-0-252-08384-6 $28.00x £22.99

Marie Sumner Lott examines the music available to musical consumers in the nineteenth century and what that music tells us about their tastes, priorities, and activities. Her social history of chamber music performance places the works of canonic composers such as Schubert, Brahms, and Dvoøák in relation to lesser- known but influential peers. The book explores the dynamic relationships among the active agents involved in the creation of Romantic music and shows how each influenced the others’ choices in a rich, collaborative environment. In addition to documenting the ways companies acquired and marketed sheet music, Sumner Lott reveals how the publication and performance of chamber music differed from that of ephemeral piano and song genres or more monumental orchestral and operatic works. Several distinct niche markets existed within the audience for chamber music, and composers created new musical works for their use and enjoyment.

E-BOOK, 978-0-252-09727-0 Publication supported by the AMS 75 PAYS Endowment of the American Musicological Society, funded in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation. All rights: University of Illinois

Insightful and groundbreaking, The Social Worlds of Nineteenth-Century Chamber Music revises prevailing views of middle-class influence on nineteenth-century musical style and presents new methods for interpreting the meanings of musical works for musicians both past and present. MARIE SUMNER LOTT is an associate professor of music history and literature at Georgia State University.

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HILDEGARD OF BINGEN HONEY MECONI Rediscovering the genius of the medieval composer, theologian, and visionary “Meconi offers fresh insight into one of the most creative composers of her time.” —WXXI

“Meconi does an excellent job of showing that Hildegard’s chants are linked to late medieval repertory but are also distinctive and idiosyncratic. Highly recommended.” —CHOICE A Renaissance woman long before the Renaissance, the visionary Hildegard of Bingen (1098–1179) corresponded with Europe’s elite, founded and led a noted women’s religious community, and wrote on topics ranging from theology to natural history. Yet we know her best as Western music’s most accomplished early composer, responsible for a wealth of musical creations for her fellow monastics.

176 PAGES. 6 X 8.5 INCHES 11 BLACK & WHITE PHOTOGRAPHS

Honey Meconi draws on her own experience as a scholar and performer of Hildegard’s music to explore the life and work of this foundational figure. Combining historical detail with musical analysis, Meconi delves into Hildegard’s mastery of plainchant, her innovative musical drama, and her voluminous writings. Hildegard’s distinctive musical style still excites modern listeners through wide-ranging, sinuous melodies set to her own evocative poetry. Together with her passionate religious texts, her music reveals a holistic understanding of the medieval world still relevant to today’s readers.

HARDCOVER, 978-0-252-03315-5 $99.00x £82.00 PAPER, 978-0-252-08367-9 $21.95s £16.99 E-BOOK, 978-0-252-05072-5 A volume in the series Women Composers Publication of this book is supported by the Margarita M. Hanson Endowment of the American Musicological Society, funded in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation.

HONEY MECONI is chair and a professor of music in the College Music Department and a professor of musicology at the Eastman School of Music at the University of Rochester. Her many books include Pierre de la Rue and Musical Life at the Habsburg-Burgundian Court.

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BACH PERSPECTIVES, VOLUME 12

Bach and the Counterpoint of Religion

Edited by ROBIN A. LEAVER Bach’s music observed within the cross-currents of religion in the eighteenth century “This volume is interesting and contains a wide variety of topics for the reader. . . . This serves as a very specialized collection of essays for the discerning scholar and student, regardless of his or her interest and association with Kantor Bach.” —CONCORDIA THEOLOGICAL QUARTERLY Johann Sebastian Bach was a Lutheran, and much of his music was for Lutheran liturgical worship. As these insightful essays in the twelfth volume of Bach Perspectives demonstrate, he was also influenced by—and in turn influenced— different expressions of religious belief. The vocal music, especially the Christmas Oratorio, owes much to medieval Catholic mysticism, and the evolution of the B Minor Mass has strong Catholic connections. In Leipzig, Catholic and Lutheran congregations sang many of the same vernacular hymns. Internal squabbles were rarely missing within Lutheranism—for example, Pietists disliked concerted church music, especially if it employed specific dance forms. Also investigated here are broader issues such as the close affinity between Bach’s cantata libretti and the hymns of Charles Wesley, and Bach’s music in the context of the Jewish Enlightenment as shaped by Protestant Rationalism in Berlin.

176 PAGES. 7 X 10 INCHES 4 MUSIC EXAMPLES, 3 TABLES

HARDCOVER, 978-0-252-04198-3 $50.00x £41.00 E-BOOK, 978-0-252-05071-8 A volume in the series Bach Perspectives, edited by Daniel R. Melamed All rights: University of Illinois

Contributors: Rebecca Cypess, Joyce L. Irwin, Robin A. Leaver, Mark Noll, Markus Rathey, Derek Stauff, and Janice B. Stockigt. ROBIN A. LEAVER is an emeritus professor of sacred music at Westminster Choir College, Princeton; honorary professor at Queen’s University, Belfast; and a recent visiting professor at the Institute of Sacred Music at Yale University. He is the general editor of The Routledge Research Companion to Johann Sebastian Bach.

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BEYOND BACH

Music and Everyday Life in the Eighteenth Century

ANDREW TALLE When Bach was just another hard-working composer “Excellently researched and well-presented and engaging. Little has been done in approaching musicians of J. S. Bach’s time in Germany through the lens of social history. As one of the first books to do this and to do it very well, Talle’s volume marks a major contribution to the field.” —MARK PETERS, author of A Woman’s Voice in Baroque Music: Mariane von Ziegler and J. S. Bach Reverence for J. S. Bach’s music and its towering presence in our cultural memory have long affected how people hear his works. In his own time, however, Bach stood as just another figure among a number of composers, many of them more popular with the music-loving public.

376 PAGES. 6.125 X 9.25 INCHES 11 COLOR PHOTOGRAPHS, 4 CHARTS, 10 MUSIC EXAMPLES, 16 TABLES

Eschewing the great composer style of music history, Andrew Talle takes us on a journey that looks at how ordinary people made music in Bach’s Germany. Talle focuses in particular on the culture of keyboard playing as lived in public and private. As he ranges through a wealth of documents, instruments, diaries, account ledgers, and works of art, Talle brings a fascinating cast of characters to life. These individuals—amateur and professional performers, patrons, instrument builders, and listeners—inhabited a lost world, and Talle’s deft expertise teases out the diverse roles music played in their lives and in their relationships with one another. At the same time, his nuanced re-creation of keyboard playing’s social milieu illuminates the era’s reception of Bach’s immortal works.

PAPER, 978-0-252-08389-1 $29.95s £24.99 E-BOOK, 978-0-252-09934-2 Publication is supported by a grant from the AMS 75 PAYS Endowment of the American Musicological Society, funded in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation. All rights: University of Illinois

ANDREW TALLE is associate professor of music studies at the Bienen School of Music of Northwestern University. He is the editor of Bach Perspectives, Volume Nine: Bach and His German Contemporaries.

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BLUEGRASS GENERATION

A Memoir

NEIL V. ROSENBERG Foreword by Gregory N. Reish Bean Blossom, banjos, and bluegrass becoming bluegrass “Bluegrass Generation: A Memoir is highly recommended to all students of bluegrass, but especially anyone who has fond memories of the Bean Blossom Festivals in the 1960s, 70s, and 80s.” —BLUEGRASS BREAKDOWN

“An ode to a time and a place when college kids and country folks bonded over a love of bluegrass.” —WALL STREET JOURNAL Neil V. Rosenberg met the legendary Bill Monroe at the Brown County Jamboree. Rosenberg’s subsequent experiences in Bean Blossom put his feet on the intertwined musical and scholarly paths that made him a preeminent scholar of bluegrass music.

304 PAGES. 6 X 9 INCHES 33 BLACK & WHITE PHOTOGRAPHS

HARDCOVER, 978-0-252-04176-1 $99.00x £82.00

Rosenberg’s memoir shines a light on the changing bluegrass scene of the early 1960s. Already a fan and aspiring musician, his appetite for banjo music quickly put him on the Jamboree stage. Rosenberg eventually played with Monroe and spent four months managing the Jamboree. Those heights gave him an eyewitness view of nothing less than bluegrass’s emergence from the shadow of country music into its own distinct art form. As the likes of Bill Keith and Del McCoury played, Rosenberg watched Monroe begin to share a personal link to the music that tied audiences to its history and his life—and helped turn him into bluegrass’s foundational figure.

PAPER, 978-0-252-08339-6 $21.95 £17.99 E-BOOK, 978-0-252-05044-2 A volume in the series Music in American Life Publication of this book is supported by grants from the Manfred Bukofzer Endowment of the American Musicological Society, funded in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation, and from Memorial University of Newfoundland.

An intimate look at a transformative time, Bluegrass Generation tells the inside story of how an American musical tradition came to be. NEIL V. ROSENBERG is professor emeritus of folklore at Memorial University of Newfoundland. He is the author of Bluegrass: A History and coauthor of Bluegrass Odyssey and The Music of Bill Monroe.

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LOS ROMEROS

Royal Family of the Spanish Guitar

WALTER AARON CLARK The fascinante biography of a musical dynasty “For the protraction of my musical education and the great pleasure of their company, I am truly grateful to the family Romero.” —SIR NEVILLE MARRINER, from the foreword

“To see Los Romeros play is to witness them making love to an instrument that, in their hands, is transformed into the most beautiful human voice.” —JESÚS LÓPEZ COBOS, from the foreword Spanish émigré guitarist Celedonio Romero gave his American debut performance on a June evening in 1958. In the sixty years since, the Romero Family—Celedonio, his wife Angelita, sons Celín, Pepe, and Angel, as well as grandsons Celino and Lito— have become preeminent in the world of Spanish flamenco and classical guitar in the United States.

376 PAGES. 6.125 X 9.25 INCHES 40 BLACK & WHITE PHOTOGRAPHS, CHRONOLOGY, GENEALOGY, DISCOGRAPHY, GLOSSARY

Walter Aaron Clark’s in-depth research and unprecedented access to his subjects have produced the consummate biography of the Romero family. Clark examines the full story of their genius for making music, from their outsider’s struggle to gain respect for the Spanish guitar to the ins and outs of making a living as musicians. As he shows, their concerts and recordings, behind-the-scenes musical careers, and teaching have reshaped their instrument’s very history. At the same time, the Romeros have organized festivals and encouraged leading composers to write works for guitar as part of a tireless, lifelong effort to promote the instrument and expand its repertoire.

HARDCOVER, 978-0-252-04190-7 $99.00x £82.00 PAPER, 978-0-252-08356-3 $24.95 £20.99 E-BOOK, 978-0-252-05059-6 A volume in the series Music in American Life

Entertaining and intimate, Los Romeros opens up the personal world and unfettered artistry of one family and its tremendous influence on American musical culture.

Publication of this book is supported by the Donna Cardamone Jackson Endowment of the American Musicological Society, funded in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation, and by the University of California, Riverside.

WALTER AARON CLARK is Distinguished Professor of Musicology and the founder/director of the Center for Iberian and Latin American Music at the University of California, Riverside. His books include Isaac Albeniz: Portrait of a Romantic and Enrique Granados: Poet of the Piano. In 2016, King Felipe VI of Spain made him a Knight Commander of the Order of Isabel the Catholic.

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BLACK OPERA

History, Power, Engagement

NAOMI ANDRÉ A musical challenge to our view of the past “A necessary exploration of how race has shaped the opera landscape in the United States and South Africa.” —NEW YORK TIMES

“This wide-ranging and—in a positive sense—provocative study . . . should interest anyone concerned with teaching and studying the shifting functions of opera in an even more shifting world.” —OPERA NEWS From classic films like Carmen Jones to contemporary works like The Diary of Sally Hemings and U-Carmen eKhayelitsa, American and South African artists and composers have used opera to reclaim black people’s place in history.

282 PAGES. 6 X 9 INCHES 2 CHARTS, 3 TABLES

Naomi André draws on the experiences of performers and audiences to explore this music’s resonance with today’s listeners. Interacting with creators and performers, as well as with the works themselves, André reveals how black opera unearths suppressed truths. These truths provoke complex, if uncomfortable, reconsideration of racial, gender, sexual, and other oppressive ideologies. Opera, in turn, operates as a cultural and political force that employs an immense, transformative power to represent or even liberate.

HARDCOVER, 978-0-252-04192-1 $99.00x £82.00 PAPER, 978-0-252-08357-0 $27.95s £22.99 All rights: University of Illinois

Viewing opera as a fertile site for critical inquiry, political activism, and social change, Black Opera lays the foundation for innovative new approaches to applied scholarship. NAOMI ANDRÉ is a professor in the Arts and Ideas in the Humanities Program, and the departments of Afroamerican and African Studies and Women’s Studies at the University of Michigan. She is the author of Voicing Gender: Castrati, Travesti, and the Second Woman in Early-NineteenthCentury Italian Opera and coeditor of Blackness in Opera.

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EXPANDED SECOND EDITION

PIONEERS OF THE BLUES REVIVAL STEVE CUSHING Introduction by Barry Lee Pearson An updated edition of the acclaimed collection with new, rare interviews “The two additional pieces in Pioneers of the Blues Revival requires anybody who was at all taken by the first edition to buy the second edition. The pieces on McCormick and Garon are that essential for the book’s completeness.” —ROBERT PRUTER, Real Blues Forum Steve Cushing, the award-winning host of the nationally syndicated public radio staple Blues Before Sunrise, has spent more than thirty years observing and participating in the Chicago blues scene. In the expanded second edition of Pioneers of the Blues Revival, Cushing adds new interviewees to the roster of prominent white researchers and enthusiasts whose advocacy spearheaded the blues’ crossover into the mainstream starting in the 1960s. Rare interview material with experts like Mack McCormick supplements dialogues with Paul Garon, Gayle Dean Wardlow, Paul Oliver, Sam Charters, and others in renewing lively debates and providing first-hand accounts of the era and movement. Throughout, the participants chronicle lifetimes spent loving, finding, collecting, reissuing, and producing records. They also recount relationships with essential blues musicians like Mississippi John Hurt, Son House, Skip James, and Bukka White—connections that allowed the two races to learn how to talk to each other in a still-segregated world.

480 PAGES. 7 X 10 INCHES 89 BLACK & WHITE PHOTOGRAPHS

PAPER, 978-0-252-08361-7 $34.95s £28.99 E-BOOK, 978-0-252-05065-7 A volume in the series Music in American Life All rights: University of Illinois

STEVE CUSHING has hosted Blues Before Sunrise for over thirty years. He is the author of Blues Before Sunrise: The Radio Interviews. BARRY LEE PEARSON is a professor of English at the University of Maryland and the author of Jook Right On: Blues Stories and Blues Storytellers.

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SPIRITUALS AND THE BIRTH OF A BLACK ENTERTAINMENT INDUSTRY SANDRA JEAN GRAHAM Showbiz shaping sacred song’s success “A pleasure to read, the book weaves meticulous research into an engaging narrative that vividly enriches understanding of postbellum American music and theater. Highly recommended.” —CHOICE

“[A] one-of-a-kind title . . . Many volumes address spirituals themselves, but few detail the actual exponents of this important African American tradition in such a refreshingly disarming way.” —LIBRARY JOURNAL 360 PAGES. 6.125 X 9.25 INCHES 22 BLACK & WHITE PHOTOGRAPHS, 2 CHARTS, 38 MUSIC EXAMPLES, 5 TABLES, 3 FIGURES

Spirituals performed by jubilee troupes became a sensation in post–Civil War America. First brought to the stage by choral ensembles like the Fisk Jubilee Singers, spirituals anchored a wide range of late nineteenth-century entertainments, including minstrelsy, variety, and plays by both black and white companies.

HARDCOVER, 978-0-252-04163-1 $99.00x £82.00

In the first book-length treatment of postbellum spirituals in theatrical entertainments, Sandra Jean Graham mines a trove of resources to chart the spiritual’s journey from the private lives of slaves to the concert stage. Graham navigates the conflicting agendas of those who, in adapting spirituals for their own ends, sold conceptions of racial identity to their patrons. In so doing they laid the foundation for a black entertainment industry whose artistic, financial, and cultural practices extended into the twentieth century.

PAPER, 978-0-252-08327-3 $29.95s £24.99 E-BOOK, 978-0-252-05030-5 A volume in the series Music in American Life

SANDRA JEAN GRAHAM is an associate professor of music at Babson College.

Publication of this book is supported by the AMS 75 PAYS Endowment of the American Musicological Society, funded in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation, and by the Babson Faculty Research Fund.

A Choice Outstanding Title, 2018 Music in American Culture Award, American Musicological Society, 2019

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RIGHT TO THE JUKE JOINT

A Personal History of American Music

PATRICK B. MULLEN Notes from a lifetime loving American music “[Mullen’s] book is well-written, insightful, and highly recommended for anyone who has found bliss through music.” —JOURNAL OF AMERICAN CULTURE

“Right to the Juke Joint is an evocative journey through music that tracks the life of its author—Patrick Mullen— from his childhood to the present. Mullen’s enduring love for music inspired his life as a folklorist. Beginning with Ray Charles’s ‘I Got a Woman,’ he moves the reader from blues, rock and roll, and rockabilly in the Fifties to jazz, country, and Tex-Mex voices. As one musician told Mullen, ‘There ain’t but one race created on earth, and that’s the human race.’ Right to the Juke Joint eloquently shows how music reveals our shared humanity.” —WILLIAM FERRIS, author of The South in Color: A Visual Journal 244 PAGES. 6 X 9 INCHES

The cowboy songs and dusty Texas car rides of his youth set Patrick B. Mullen on a lifelong journey into the sprawling Arcadia of American music. That music fused so-called civilized elements with native forms to produce everything from Zydeco to Conjunto to jazz to Woody Guthrie. The civilized/native idea, meanwhile, helped develop Mullen’s critical perspective, guide his love of music, and steer his life’s work.

HARDCOVER, 978-0-252-04164-8 $99.00x £82.00 PAPER, 978-0-252-08328-0 $29.95s £24.99 E-BOOK, 978-0-252-05031-2

Part scholar’s musings and part fan’s memoir, Right to the Juke Joint follows Mullen from his early embrace of country and folk to the full flowering of an idiosyncratic, omnivorous interest in music. Personal memory merges with a lifetime of fieldwork in folklore and anthropology to provide readers with a deeply informed analysis of American roots music. Mullen opens up on the world of ideas and his own tireless fandom to explore how his cultural identity—and ours—relates to concepts like authenticity and “folkness.” The result is a charming musical map drawn by a gifted storyteller whose boots have traveled a thousand tuneful roads.

A volume in the series Music in American Life Publication of this book was supported by a grant from the L. J. and Mary C. Skaggs Folklore Fund. All rights: University of Illinois

PATRICK B. MULLEN is professor emeritus of English and folklore at The Ohio State University. His books include The Man Who Adores the Negro: Race and American Folklore and Listening to Old Voices: Folklore, Life Stories, and the Elderly.

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SOUNDS OF THE NEW DEAL

The Federal Music Project in the West

PETER GOUGH Foreword by Peggy Seeger How the music of the people—all people—triumphed and reshaped America “Gough’s important contribution not only explores the Federal Music Project in the West, based on a wide variety of primary and secondary sources, but also includes coverage of numerous musical styles. . . . It is a pleasure to review such an informative study of popular music.”

Sacramento.

—JOURNAL OF AMERICAN HISTORY At its peak the Federal Music Project (FMP) employed nearly 16,000 people who reached millions of Americans through performances, composing, teaching, and folksong collection and transcription. In Sounds of the New Deal, Peter Gough explores how the FMP’s activities in the West shaped a new national appreciation for the diversity of American musical expression.

304 PAGES. 6.125 X 9.25 INCHES 29 BLACK & WHITE PHOTOGRAPHS

PAPER, 978-0-252-08349-5 $27.95s £22.99 E-BOOK, 978-0-252-09701-0

From the onset, administrators and artists debated whether to represent highbrow, popular, or folk music in FMP activities. Though the administration privileged using “good” music to educate the public, in the West local preferences regularly trumped national priorities and allowed diverse vernacular musics to be heard. African American and Hispanic music found unprecedented popularity while the cultural mosaic illuminated by American folksong exemplified the spirit of the Popular Front movement. These new musical expressions combined the radical sensibilities of an invigorated Left with nationalistic impulses. At the same time, they blended traditional patriotic themes with an awareness of the country’s varied ethnic musical heritage and vast—but endangered—store of grassroots music.

A volume in the series Music in American Life Publication of this book was supported by a grant from the L. J. and Mary C. Skaggs Folklore Fund. All rights: University of Illinois

Rich with anecdotal detail, Sounds of the New Deal reveals the crossroads of art and politics that still shape America’s sense of itself. PETER GOUGH is a lecturer in history at California State University,

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BANJO ROOTS AND BRANCHES Edited by ROBERT B. WINANS West African precursors, African-Caribbean origins, North American journeys “An excellent book with plenty of material for both specialist and casual readers.” —GALPIN SOCIETY JOURNAL

“Roots and Branches collects an extraordinary amount of research into the ongoing discovery of the banjo’s Byzantine history. . . . Each essay speaks directly to all others, lending the book an unusual level of cohesion for an edited volume.” —WORLD OF MUSIC 344 PAGES. 6.125 X 9.25 INCHES 20 COLOR PHOTOGRAPHS, 20 BLACK & WHITE PHOTOGRAPHS, 2 MAPS 22 MUSIC EXAMPLES, 11 TABLES

The story of the banjo’s journey from Africa to the western hemisphere blends music, history, and a union of cultures. In Banjo Roots and Branches, Robert B. Winans presents cutting-edge scholarship that covers the instrument’s West African origins and its adaptations and circulation in the Caribbean and United States. The contributors provide detailed ethnographic and technical research on gourd lutes and ekonting in Africa and the banza in Haiti while also investigating tuning practices and regional playing styles. Other essays place the instrument within the context of slavery, tell the stories of black banjoists, and shed light on the banjo’s introduction into the African- and Anglo-American folk milieus.

HARDCOVER, 978-0-252-04194-5 $99.00x £82.00 PAPER, 978-0-252-08360-0 $32.95s £26.99

Wide-ranging and illustrated with twenty color images, Banjo Roots and Branches offers a wealth of new information to scholars of African American and folk musics as well as the worldwide community of banjo aficionados.

E-BOOK, 978-0-252-05064-0 A volume in the series Music in American Life

Contributors: Greg C. Adams, Nick Bamber, Jim Dalton, George R. Gibson, Chuck Levy, Shlomo Pestcoe, Pete Ross, Tony Thomas, Saskia Willaert, and Robert B. Winans.

Publication of this book was made possible in part through a donation from the Uncle Shlomo’s Brooklyn Kids Fund for Music, dedicated to ensuring that Shlomo Pestcoe’s generous spirit will continue to enrich us with the music he so loved to share, and by a grant from the L. J. and Mary C. Skaggs Folklore Fund.

ROBERT B. WINANS is a professor emeritus of American literature and folklore at Gettysburg College.

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