Preface
Introduction
Acknowledgements
Table of Contents
List of Illustrations
Figures and Graphics
1540-1770
1: Early Encounters between Indigenous Peoples and European Explorers, 1540-1642 (Castañeda, Drake, de Meras, Smith, Wood)
2: From the Preface to the Bay Psalm Book (1640)
3: Four Translations of Psalm 100 (Tehilim, Bay Psalm Book, 1640 and 1698, Watts)
4: From the Diaries of Samuel Sewall
5: The Ministers Rally for Musical Literacy, 1720-21 (Mather, Walter, Symmes)
6: Benjamin Franklin Advises His Brother on How to Write a Ballad and How Not to Write like Handel (ca. 1764)
7: Advertisements and Notices from Colonial Newspapers, 1716-1774
8: Social Music for the Elite in Colonial Williamsburg in the 1750s/1770-1830
9: "Christopher Crotchet, Singing Master from Quavertown"
10: Singing the Revolution (Adams, Dickinson, Greeley)
11: Elisha Bostwick Hears a Scots Prisoner Sing "Gypsie Laddie" in 1777
12: A Sidebar into Ballad Scholarship ca.1880-1970: The Wanderings of "The Gypsy Laddie" (Child, Sharp, Coffin, Bronson)
13: William Billings and the New Psalmody, 1770-1794 (Billings, Gould)
14: Daniel Read on Pirating and "Scientific Music," ca. 1790-1830
15: Padre Narciso Durán Describes Musical Training at the Mission San Jose, 1813-1815
16: Moravian Musical Life at Bethlehem in the 1800s (Henry, Till, Bowne)
17: Reverend Burkitt Brings Camp Meeting Hymns from Kentucky to North Carolina in 1803
18: John Fanning Watson and The Errors in Methodist Worship (1819)
19: Reverend James B. Finley and Mononcue Sing "Come Thou Fount of Every Blessing" in 1823
20: Turn-of-the Century Theater Songs from Reinagle, Rowson, and Carr: "America, Commerce, and Freedom" and "The Little Sailor Boy"/1830-1870
21: Thomas D. Rice Acts Out "Jim Crow" and "Cuff," in the 1830s
22: William M. Whitlock, Banjo Player for the Virginia Minstrels in the 1850s
23: Edwin P. Christy, Stephen Foster, and "Ethiopian Minstrelsy"
24: Stephen Foster's Legacy, ca. 1845-1960 (Foster, Gordon, Robb, Simpson, Willis, Galli-Curci, Kuller and Webster, Charles)
25: The Fasola Folk, The Southern Harmony and The Sacred Harp, ca. 1830-1860 (Walker, White, and King )
26: A Sidebar into the Discovery of Shape-Note Music by a National Audience (Jackson, the 1991 Edition)
27: The Boston Public Schools Set a National Precedent in Music Education in 1837
28: Music Education for American Girls in the 1850s
29: Lorenzo Da Ponte Recruits an Italian Opera Company for New York (1831)
30: Early Expressions of Cultural Nationalism in the 1850s (Hopkins, Fry, Putnam's Monthly)/31. John S. Dwight Remembers How He and His Circle "Were But Babes in Music"
32: George Templeton Strong Hears the American Premiere of Beethoven's Fifth in 1841
33: German Americans Adapting and Contributing to Musical Life in the Mid 1800s
34: Emil Klauprecht's German-American novel, Cincinnati, oder die Geheimnisse des Westens, 1854
35: P. T. Barnum and the Jenny Lind Fever in 1850
36: Miska Hauser, Hungarian Violinist, Pans For Musical Gold in 1853
37: From the Journals of Louis Moreau Gottschalk
38: The 'Four-Part Blend' of the Hutchinson Family
39: Walt Whitman's Conversion to Opera in the 1850s
40: Clara Kellogg and the Memoirs of an American Prima Donna in the 1860s and '70s
41: Frederick Douglass from My Bondage and My Freedom, 1855
42: Harriet Beecher Stowe and Two Scenes from Uncle Tom's Cabin, 1852
43: From Slave Songs of the United States, 1867
44: A Sidebar into Memory: Slave Narratives from the Federal Writers' Project, 1936-1938
45: George F. Root Recalls How He Wrote a Classic Union Song
46: A Confederate Girl's Diary during the Civil War
47: Soldier-Musicians from the North and the South Recall Duties on the Front
48: Patrick S. Gilmore and the Golden Age of Bands (Newspaper review, Herbert)
49: Ella Sheppard Moore, a Fisk Jubilee Singer in the 1870s
50: Theodore Thomas and His Musical Manifest Destiny (Rose Fay Thomas, Theodore Thomas)/1880-1920
51: John Philip Sousa -Excerpts from his Autobiography
52: Why is a Good March like a Marble Statue? (Pryor, Fennell)
53: Willa Cather Mourns the Passing of the Small-Town Opera House
54: Henry Lee Higginson and the Founding of the Boston Symphony Orchestra in 1881
55: American Classical Music Goes to the Paris World's Fair, 1889
56: George Chadwick's Ideals for Composing Classical Concert Music in the 1890s
57: Late 19th-Century Cultural Nationalism: The Paradigm of Dvorák (Creelman, Paine, Burleigh)
58: Henry Krehbiel Explains a Critic's Craft and a Listener's Duty in 1896
59: Amy Fay Tackles the "Woman Question" in 1900
60: Amy Beach, Composer, on "Why I Chose My Profession" (1914)
61: Edward MacDowell, Poet-Musician, Remembered (Currier, Gilman)
62: Paul Rosenfeld's Manifesto for American Composers, 1916
63: From the Writings of Charles Ives/64, Frederic Louis Ritter Looks for "the People's Song" (1884)
65: Emma Bell Miles on "Some Real American Music" (1905)
66: Frances Densmore and the Documentation of American Indian Songs and Poetry
67: A Sidebar into National Cultural Policy: The Federal Cylinder Project (1979)
68: Charles K. Harris on Writing for Tin Pan Alley
69: Scott Joplin, Ragtime Visionary (Scott Joplin, Lottie Joplin)
70: A Sidebar into the Ragtime Revival of the 1970s: William Bolcom reviews The Collected Works of Scott Joplin
71: James Reese Europe Credits "Men of His Blood with Introducing Modern Dances" in the 1910s
72: Irving Berlin on "Love-Interest" As a Commodity in Popular Songs (1915)
73: Ferdinand "Jelly Roll" Morton Describes New Orleans and Its Jazz Scene, 1920-1950
74: Bessie Smith, Artist and Blues Singer (Press notice, Bailey, Schuller)
75: Thomas Andrew Dorsey "Brings the People Up" and Carries Himself Along
76: Louis Armstrong in His Own Words
77: Gilbert Seldes Waves the Flag of Pop
78: Al Jolson and The Jazz Singer
79: Carl Stalling: Master of Cartoon Music: An Interview
80: A Sidebar into Postmodernism: John Zorn Turns Carl Stalling into a Prophet
81: Alec Wilder Writes Lovingly about Jerome Kern
82: George Gershwin Surveys "Fifty Years of American Music"
83: William Grant Still, Pioneering African American Composer (Still, Locke, Still)
84: The Inimitable Henry Cowell as described by the Irrepressible Nicolas Slonimsky
85: Ruth Crawford on "Dissonant Music"
86: "River Sirens, Lion Roars, All Music to Varèse"
87: Leopold Stokowski and "Debatable Music"
88: Henry Leland Clark on the Composer's Collective
89: Marc Blitzstein In and Out of the Treetops of The Cradle Will Rock
90: Samuel Barber and the Controversy around the Premiere of Adagio for Strings (Downes, Pettis, Menotti, Harris)
92: Arthur Berger Divides Aaron Copland into Two Styles
93: Aaron Copland on the "The Personality of Stravinsky"
94: Roger Sessions Describes the American Period of Arnold Schoenberg (Sessions, Schoenberg, Sessions)
95: Uncle Dave Macon, Banjo Trickster at the Grand Ole Opry
96: The Bristol Sessions and Country Music
97: A Sidebar into the Folk Revival: Harry Smith's Canon of "Old-Time" Recordings
98: Zora Neale Hurston on "Spirituals and Neo-Spirituals"
99: Emma Dusenbury, Source Singer, Describes her Hard Times (1941)
100: John and Alan Lomax Propose a "Canon for American Folk Song" (1947)
101: Woody Guthrie Praises the "Spunkfire" Attitude of a Folk Song (1948)
102: Fred Astaire Dances like a Twentieth-Century American (Williams)
103: The Innovations of Oklahoma! (de Mille, Engel)
104: Duke Ellington on Swing as a Way of Life
105: Malcolm X Recalls the Years of Swing
106: The Many Faces of Billie Holiday (Holiday, Wilson, Bennett)
107: Ralph Ellison and the Birth of Bebop at Minton's, 1950-1975
108: Ella Fitzgerald On Stage (Peterson)
109: Leonard Bernstein Finds His Way to the American Musical
110: Stephen Sondheim on Writing "Theater Lyrics"
111: Muddy Waters Explains "Why It Doesn't Pay to Run from Trouble"
112: Elvis Presley in the Eye of Musical Twister (newspaper reviews, Gould, Lewis)
113: Chuck Berry in His Own Words
114: Greil Marcus and the New Rock Criticism in the 1970s
115: The Five String Banjo: Hints from the 1960s Speed-Master, Earl Scruggs
116: Pete Seeger, a TCUSAPSS, "Sings Out!"
117: Bob Dylan Turns Liner Notes into Poetry
118: Janis Joplin Grabs Pieces of Our Hearts (Joplin, Graham)
119: "Handcrafting the Grooves" in the Studio: Aretha Franklin at Muscle Shoals (Wexler)
120: Jimi Hendrix, Virtuoso of Electricity (Hendrix, Bloomfield)
121: Amiri Baraka Theorizes a Black Nationalist Aesthetic
122: Charles Reich on The Music of "Consciousness III"
123: McCoy Tyner on "The Jubilant Experience of John Coltrane's Classic Quartet
124: Miles Davis - Excerpts from his Autobiography
125: A Vietnam Vet Remembers Rocking and Rolling in the Mud of War (Rodriguez, Beaudoin and Rodriguez)
126: George Crumb and Black Angels--"A Quartet in Time of War"
127: Milton Babbitt on Electronic Music (Brody and Miller, Babbitt)
128: Edward T. Cone Satirizes Music Theory's New Vocabulary in the 1960s
129: Mario Davidovsky, An Introduction (Chasalow)
130: Elliot Carter on the 'Different Time Worlds' in String Quartets No. 1 and 2
131: John Cage, Words and Music For Changes (Cage, Anderson)
132: Harold Schonberg on "Art and Bunk, Matter and Anti Matter"
133: Pauline Oliveros, Composer and Teacher
134: Steve Reich on "Music as a Gradual Process," 1975-2000
135: Star Wars meets Wagner (Williams, Tomlinson)
136: Tom Johnson--What is Minimalism Really About?
137: Morton Feldman and His West German Fan Base (Feldman, Post)
138: Philip Glass and the Roots of Reform Opera
139: Laurie Anderson, Performance Artist (Anderson, Gordon)
140: Meredith Monk and the Revelation of Voice
141: Recapturing the Soul of the American Orchestra (Duffy, Tower)
142: Two Economists Measure the Impact of Blind Auditions between 1960 and 2000
143: John Harbison on Modes of Composing
144: Wynton Marsalis on Learning from the Past for the Sake of the Present
145: John Adams, an American Master
146: The Incorporation of the American Folklife Center
147: Daniel Boorstin's Welcoming Remarks at the Conference on Ethnic Recordings in America (1977)
148: Willie Colon on "Conscious Salsa"
149: The Accordion Travels Through "Roots Music" (Savoy)
150: Santiago Jiménez, a Patriarch of Conjunto
151: Gloria Anzaldúa on "Vistas" y corridos: My Native Tongue
152: Contemporary Native American Music and the Pine Ridge Reservation (Porcupine Singers, Frazier)
153: MTV and the Music Video (MoMA Exhibition of 1985, Hoberman)
154: Turning Points in the Career of Michael Jackson (Jackson, Jones)
155: Sally Banes Explains Why Breaking is Hard to Do
156: Two Members of Public Enemy Discuss Sampling and Copyright Law
157: DJ Q-bert, Master of Turntable Music (Chin)
158: A Press Release from the Country Music Association (1997)
159: Ephemeral Music: Napster's Congressional Testimony (2000)
