JOURNAL OF THESOCIETY FOR AMERICAN MUSIC
TA B L E O F C O N T E N T S
JOU
RN
AL O
F TH
E S
OC
IET
Y FO
R A
ME
RIC
AN
MU
SIC
VOLU
ME
8 •
NU
MB
ER
4 •
NO
VEM
BE
R 2
01
4
CONTR IBUTORS
ART ICLES
435 “This Is America”: Jimi Hendrix’s Star Spangled Banner Journey as
Psychedelic Citizenship
Mark Clague
479 The Inspector of Music Meets the French
Raoul Camus
501 How Santa Claus Became a Slave Driver: The Work of Print Culture in a
Nineteenth-Century Musical Controversy
Douglas W. Shadle
538 The Fugs, the Lower East Side, and the Slum Aesthetic in 1960s Rock
Patrick Burke
REV IEWS
BOOKS
567 Daniel Cavicchi, Listening and Longing: Music Lovers in the Age of Barnum
Karen Ahlquist
570 Agustín Gurza, with Jonathan Clark and Chris Strachwitz, The Arhoolie Foundation’s
Strachwitz Frontera Collection of Mexican and Mexican American Recordings; Catherine
L. Kurland and Enrique R. Lamadrid, Hotel Mariachi: Urban Space and Cultural Heritage
in Los Angeles; Josh Kun, Songs in the Key of Los Angeles; Larry Rothe, Music for a
City, Music for the World: 100 Years with the San Francisco Symphony
Walter Aaron ClarkContinued on inside back cover
Cambridge Journals OnlineFor further information about this journal please go to the journal web site at
http://journals.cambridge.org/sam
JOURNAL OF THESOCIETY FORAMERICANMUSICVOLUME 8 • NUMBER 4 • NOVEMBER 2014
at https://www.cambridge.org/core/terms. https://doi.org/10.1017/S1752196314000339Downloaded from https://www.cambridge.org/core. IP address: 54.39.106.173, on 03 Sep 2021 at 01:47:59, subject to the Cambridge Core terms of use, available
Continued from back cover
Gayle Murchinson, The American Stravinsky: The Style and Aesthetics of Copland’s New American Music, the Early Works, 1921–1938
Matthew Mugmon 578
Brian Harker, Louis Armstrong’s Hot Five and Hot Seven Recordings; Bruce Boyd Raeburn, New Orleans Style and the Writing of American Jazz History; Lawrence Gushee, Pioneers of Jazz: The Story of the Creole Band; Charles Hersch, Subversive Sounds: Race and the Birth of Jazz in New Orleans; Mark Berresford, That’s Got ‘Em!: The Life and Music of Wilbur C. Sweatman
Charles Sharp 581
bruce d. mcclung, Lady in the Dark: Biography of a Musical; Tim Carter, Oklahoma!: The Making of an American Musical; Jim Lovensheimer, South Pacific: Paradise Rewritten; Paul R. Laird, Wicked: A Musical Biography
Scott Warfield 587
Recordings
Jazz: The Smithsonian AnthologyRobert Walser 597
The Lark Quartet, Composing America: Adams, Bolcom, Copland & MoravecDenise Von Glahn 599
Multimedia
Grateful Dead, Sunshine Daydream; Grateful Dead, May 1977John Hausmann 602
Erratum 606
Journal of the Society for American Music
Journal of the Society for American Music (JSAM) is an international, peer-reviewed journal that explores all aspects of American music and music in the Americas. JSAM is dedicated to supporting scholarship that transcends disciplinary boundaries, cutting across historical musicology, music theory, ethnomusicology, cultural theory, and American studies. JSAM encourages international dialogue across disciplines. The journal features articles, reviews of books, recordings, and multimedia items, and explorations of special topics.
SubscriptionsJournal of the Society for American Music (ISSN 1752-1963) is published four times a year, in February, May, August, and November by Cambridge University Press, 32 Avenue of the Americas, New York, NY 10013, USA, for the Society for American Music.
The subscription price of volume 9 (2015), including delivery by air where appropriate (but excluding VAT), is $257 (£139) for institutions print and online; $235 (£127) for institutions online only. Single issues cost $71 (£38). Japanese prices for institutions, including ASP delivery, are available from Kinokuniya Company Ltd., P.O. Box 55, Chitose, Tokyo 156, Japan. Orders, which must be accompanied by payment, may be sent to a bookseller or subscription agent or direct to the publisher: Cambridge University Press, Journals Fulfillment Department, 100 Brook Hill Drive, West Nyack, New York 10994-2133, USA; or Cambridge University Press, Journals Fulfillment Department, UPH, Shaftesbury Road, Cambridge CB2 8BS, UK. Alternatively, you can place an order online at <journals.cambridge.org/sam>.
Individuals wishing to subscribe to the journal should consider joining the Society for American Music. Individuals receive the journal as part of their membership. Other benefits include a copy of the Bulletin, and the annotated Membership Directory. Annual membership rates are $75 (US) for individual members, $30 for spouses/partners, $35 for students, and $50 for retired individuals. If you reside outside the US, please add $10 additional for postage. All payments must be in US funds, drawn on a US bank or by credit card (Visa or Mastercard only). Please direct all membership payments, inquiries, changes of address, and correspondence to the Society for American Music, Stephen Foster Memorial, University of Pittsburgh, Pittsburgh, PA 15260, USA. Telephone (412) 624-3031, fax (412) 624-7447, e-mail [email protected], website <www.american-music.org>.
For single issues, please contact [email protected].
AdvertisingFor information on display ad sizes, rates, and deadlines for copy, please visit the journal homepage at <journals.cambridge.org/sam> or contact [email protected]. Information can also be found at <www. american-music.org>.
Internet accessJournal of the Society for American Music is included in the Cambridge Journals Online service, which can be accessed at <journals.cambridge.org>. For information on other Cambridge titles, visit <www.cambridge.org>.
ISSN: 1752-1963EISSN: 1752-1971
© The Society for American Music 2014. All rights reserved. No part of this publication may be reproduced, in any form or by any means, electronic, photocopying, or otherwise, without permission in writing from Cambridge University Press. Policies, request forms, and contacts are available at: http://www.cambridge.org/rights/permissions/permission.htm
Permission to copy (for users in the U.S.A.) is available from Copyright Clearance Center, http://www.copyright.com, email:[email protected].
Postmaster: Send address changes to Journal of the Society for American Music, Cambridge University Press, 100 Brook Hill Drive, West Nyack, NY 10994-2133, USA.
Front cover illustration: Jimi Hendrix performs in Detroit’s Masonic Temple, February 24, 1968; ©1968; Photo: Leni Sinclair, used by permission.
at https://www.cambridge.org/core/terms. https://doi.org/10.1017/S1752196314000339Downloaded from https://www.cambridge.org/core. IP address: 54.39.106.173, on 03 Sep 2021 at 01:47:59, subject to the Cambridge Core terms of use, available
Journal of the Society for American Music
A quarterly publication of the Society for American Music
EditorMark Katz (University of North Carolina at Chapel Hill, USA)
Assistant EditorWilliam Robin (University of North Carolina at Chapel Hill, USA)
Book Review EditorChristina Baade (McMaster University, Canada)
Recording Review EditorMarta Robertson (Gettysburg College, USA)
Multimedia Review EditorTrudi Wright (Regis University, USA)
Editorial AssociateMark A. Davidson (University of California, Santa Cruz, USA)
Editorial BoardKaren Ahlquist (George Washington University, USA)Marianne Betz (Hochschule fur Musik und Theater “Felix Mendelssohn Bartholdy”Leipzig, Germany)Sally Bick (University of Windsor, Canada)William Brooks (York University, UK)Marva Carter (Georgia State University, USA)Mark Clague (University of Michigan, USA)Robert Fink (University of California, Los Angeles, USA)Danielle Fosler-Lussier (Ohio State University, USA)Jim Lovensheimer (Vanderbilt University, USA)Portia K. Maultsby (Indiana University, USA)Felicia Miyakawa (Middle Tennessee State University, USA)Kiri Miller (Brown University, USA)David Nicholls (University of Southampton, UK)Carol Oja (Harvard University, USA)Howard Pollack (University of Houston, USA)Eric Porter (University of California, Santa Cruz, USA)John Spitzer (San Francisco Conservatory, USA)Steve Swayne (Dartmouth College, USA)Judith Tick (Northeastern University, USA)Albin Zak (State University of New York, Albany, USA)
at https://www.cambridge.org/core/terms. https://doi.org/10.1017/S1752196314000339Downloaded from https://www.cambridge.org/core. IP address: 54.39.106.173, on 03 Sep 2021 at 01:47:59, subject to the Cambridge Core terms of use, available
Journal of the Society for American MusicVolume 8, Number 4 (November 2014)
Contributors v
Articles
“This Is America”: Jimi Hendrix’s Star Spangled Banner Journey asPsychedelic Citizenship
Mark Clague 435
The Inspector of Music Meets the FrenchRaoul Camus 479
How Santa Claus Became a Slave Driver: The Work of Print Culture in aNineteenth-Century Musical Controversy
Douglas W. Shadle 501
The Fugs, the Lower East Side, and the Slum Aesthetic in 1960s RockPatrick Burke 538
Reviews
Books
Daniel Cavicchi, Listening and Longing: Music Lovers in the Age of BarnumKaren Ahlquist 567
Agustın Gurza, with Jonathan Clark and Chris Strachwitz, The ArhoolieFoundation’s Strachwitz Frontera Collection of Mexican and MexicanAmerican Recordings; Catherine L. Kurland and Enrique R. Lamadrid,Hotel Mariachi: Urban Space and Cultural Heritage in Los Angeles;Josh Kun, Songs in the Key of Los Angeles; Larry Rothe, Music for a City,Music for the World: 100 Years with the San Francisco Symphony
Walter Aaron Clark 570
Gayle Murchinson, The American Stravinsky: The Style and Aesthetics ofCopland’s New American Music, the Early Works, 1921–1938
Matthew Mugmon 578
Brian Harker, Louis Armstrong’s Hot Five and Hot Seven Recordings; BruceBoyd Raeburn, New Orleans Style and the Writing of American JazzHistory; Lawrence Gushee, Pioneers of Jazz: The Story of the Creole Band;Charles Hersch, Subversive Sounds: Race and the Birth of Jazz in NewOrleans; Mark Berresford, That’s Got ‘Em!: The Life and Music of WilburC. Sweatman
Charles Sharp 581
bruce d. mcclung, Lady in the Dark: Biography of a Musical; Tim Carter,Oklahoma!: The Making of an American Musical; Jim Lovensheimer,
at https://www.cambridge.org/core/terms. https://doi.org/10.1017/S1752196314000339Downloaded from https://www.cambridge.org/core. IP address: 54.39.106.173, on 03 Sep 2021 at 01:47:59, subject to the Cambridge Core terms of use, available
South Pacific: Paradise Rewritten; Paul R. Laird, Wicked: A MusicalBiography
Scott Warfield 587
Recordings
Jazz: The Smithsonian AnthologyRobert Walser 597
The Lark Quartet, Composing America: Adams, Bolcom, Copland & MoravecDenise Von Glahn 599
Multimedia
Grateful Dead, Sunshine Daydream; Grateful Dead, May 1977John Hausmann 602
Erratum 606
at https://www.cambridge.org/core/terms. https://doi.org/10.1017/S1752196314000339Downloaded from https://www.cambridge.org/core. IP address: 54.39.106.173, on 03 Sep 2021 at 01:47:59, subject to the Cambridge Core terms of use, available
Contributors
Karen Ahlquist teaches at the George Washington University in Washington, D.C.She is the author of Democracy at the Opera: Music, Theater, and Culture in NewYork City, 1815–60 (University of Illinois Press, 1997), and editor of Chorus andCommunity (University of Illinois Press, 2006). She writes on European musicaltraditions in the nineteenth century, and has recently published in Musical Quarterlyand American Orchestras in the Nineteenth Century (University of Chicago Press,2012).
Patrick Burke is Associate Professor of Ethnomusicology at Washington Universityin St. Louis. He is the author of Come In and Hear the Truth: Jazz and Race on52nd Street (University of Chicago Press, 2008) and recently co-edited (with GeraldEarly and Mina Yang) “American Music,” a 2013 special issue of Daedalus: Journalof the American Academy of Arts and Sciences. He is currently writing a book thataddresses the relationship between rock music and the radical political movementsof the late 1960s.
Raoul Camus is Professor Emeritus of Music at the City University of New York andarea editor for bands for both editions of the Grove Dictionary of American Music.A retired army reserve bandmaster, he has honorary memberships in ABA, IGEB,NBA and the Company of Fifers and Drummers. A founder and past president ofthe Sonneck Society (now the Society for American Music), he has written articleson bands and their repertoire in journals, encyclopedias, and the Alta Musica series.
Mark Clague is Associate Professor of Musicology, African and African AmericanStudies, American Culture, Non-Profit Management, and Entrepreneurship at theUniversity of Michigan. He serves as Editor-in-Chief of the George and Ira GershwinCritical Edition and Co-Editor-in-Chief of Music of the United States of America.He is founding board chair of the Star Spangled Music Foundation and editor andproducer of the Star Spangled Songbook and its associated recording project Poets& Patriots: A Tuneful History of “The Star-Spangled Banner.”
Walter Aaron Clark is Professor of Musicology and Director of the Center forIberian and Latin American Music at the University of California, Riverside. In ad-dition to editing or co-editing five books on Spanish and Latin American music, hehas authored Oxford University Press biographies of Isaac Albeniz (1999), EnriqueGranados (2006), and Federico Moreno Torroba (2013, with William Krause).He is the editor of the Oxford series Currents in Latin American and IberianMusic.
v
at https://www.cambridge.org/core/terms. https://doi.org/10.1017/S1752196314000339Downloaded from https://www.cambridge.org/core. IP address: 54.39.106.173, on 03 Sep 2021 at 01:47:59, subject to the Cambridge Core terms of use, available
vi
John Hausmann is a Ph.D. student at the University of Cincinnati College-Conservatory of Music. He is currently writing his dissertation on parody, com-munity, and memory in twentieth-century American music, which will includechapters on “Weird Al” Yankovic, P. D. Q. Bach, and the Grateful Dead. He alsohosts a weekly radio show focused on live and improvised musics.
Panayotis (Paddy) League is a Ph.D. candidate in ethnomusicology at HarvardUniversity. His research focuses on music and poetry in the Greek Aegean and thediatonic button accordion at rural festivals in Northeastern Brazil. He has publishedarticles in Classics@, the online journal of Harvard’s Center for Hellenic Studies; theonline Portfolio of the Department of Musicology and Ethnomusicology at BostonUniversity; and Forum Folkloristica. He is also an active performer of Greek, Irish,and Brazilian music on the fiddle, accordion, and various lutes.
Matthew Mugmon is Assistant Professor of Musicology at the University of Arizona.He completed his Ph.D. in historical musicology at Harvard University in 2013. Hisresearch centers on musical modernism in the United States and in Europe, witha special focus on the reception of Gustav Mahler’s music. His articles appear inMusic & Letters, Journal of Musicological Research, and the forthcoming volumeRethinking Mahler.
Douglas Shadle is Assistant Professor of Musicology at the Vanderbilt UniversityBlair School of Music. He is completing a book manuscript for Oxford UniversityPress on symphonies written by American composers during the nineteenth cen-tury. His previous research has appeared in American Music, the Journal of MusicHistory Pedagogy, MLA Notes, the Journal of Musicological Research, Common-place,the Register of the Kentucky Historical Society, and a digital humanities project calledVerses and Fragments: The James L. Dusenbery Journal (1841–1842).
Charles Sharp teaches the history of jazz and popular music, as well as courses inethnomusicology at California State University, Fullerton. His dissertation exam-ined experimental musics in Los Angeles from the 1960s to the present, and hiswork is centered on the philosophical examination of interpretation and identity.Sharp performs both jazz and traditional Chinese music.
Denise Von Glahn is Professor of Musicology at The Florida State University whereshe is also Director of the Center for Music of the Americas. She has published onmusic and American identity; music, nature, and place; women and music; musicalmodernism; and Charles Ives, Edgard Varese, and Leo Ornstein. She is currentlywriting a biography of Libby Larsen for the Music in American Life series at theUniversity of Illinois Press.
Scott Warfield is Associate Professor of Music History at the University of CentralFlorida. He is the author of “From Hair to Rent: Is ‘Rock’ A Four-Letter Word onBroadway?” in The Cambridge Companion to the Musical (2002; 2nd ed., 2008), and
at https://www.cambridge.org/core/terms. https://doi.org/10.1017/S1752196314000339Downloaded from https://www.cambridge.org/core. IP address: 54.39.106.173, on 03 Sep 2021 at 01:47:59, subject to the Cambridge Core terms of use, available
vii
he also writes frequently about Richard Strauss. His latest essay, on “The ResearchPaper,” appears in The Music History Classroom (Ashgate, 2012).
Robert Walser is Professor of Music at Case Western Reserve University. He isthe author of the award-winning book Running with the Devil: Power, Gender, andMadness in Heavy Metal Music, and editor of Keeping Time: Readings in Jazz History,both of which will appear in second editions in fall 2014. He has also published ona wide variety of other topics in American music, and he is particularly proud ofthe accomplishments of his fifteen Ph.D. advisees.
at https://www.cambridge.org/core/terms. https://doi.org/10.1017/S1752196314000339Downloaded from https://www.cambridge.org/core. IP address: 54.39.106.173, on 03 Sep 2021 at 01:47:59, subject to the Cambridge Core terms of use, available
