Offering a fresh perspective on the making of the American nation, Forging America: New Lands and High Culture shows how the various "new" portions of the country--the Northeastern wilderness, the West, and later the South and Midwest--were assimilated into the national and intellectual consciousness of the young nation. Specifically, author David P. DeVenney examines the ways in which the arts helped achieve this assimilation, primarily through music and painting, but also through literature and architecture. The search for "American-ness" in the arts, for what it meant to be an American painter, composer, or writer, occupied artists for the entire 19th century and for the first part of the 20th. Intellectuals viewed America in the 1800s as a new Eden, a primordial wilderness, and viewed themselves as chosen by God to begin a new chapter in the development of the world. This Romantic idea included exploring and taming the vast regions of the country and making their beauties accessible to the nation's Eastern population centers, filtering notions of the West through the arts and arriving at an idyllic vision absent any signs of danger or exoticism. DeVenney writes for the educated nonspecialist as well as the scholar, making Forging America a fascinating and useful tool for understanding a key way in which America became America.

This survey of choral literature, written by American composers from 1760 through the 1990s, examines nearly 3,000 pieces of choral music written by over 300 composers. Along with a descriptive analysis, the literature is placed within a historical perspective. Familiar and less well-known composers and their music are examined. The study seeks to remedy the superficial treatment choral music is often given in standard textbooks on American music and to acknowledge and expose the varied richness of the literature.

Choral conductors and musicologists will appreciate the vast repertory of choral music literature examined. Organized chronologically, this study uniquely traces the development of choral music literature throughout the centuries. A select bibliography provides a useful guide for further research.

The Broadway Song Companion is the first complete guide and access point to the vast literature of the Broadway musical for the solo performer. Designed with the working actor in mind, the volume lists every song from over 210 Broadway shows, giving the name of the character(s) who sing(s) the song, its exact vocal range, and categorizing each by song style (uptempo, narrative ballad, swing ballad, moderate character piece, etc.). A number of indexes to the volume list titles of songs, first lines, composer's and lyricist's names, and each song by voice type. For instance, a soprano looking for a ballad to sing will find every song in that category in the index. All solos, duets, and trios are indexed in this manner, with quartets and larger ensembles listed by voice type. Furthermore, the instant breakdowns (how many lead characters, who sings what song, and the range requirements of each character) will be a valuable resource to directors and producers.

This is a completely revised and expanded second edition of The Broadway Song Companion, the first complete guide and access point to the vast literature of the Broadway musical for the solo performer. Designed with the working actor in mind, the volume lists every song from over 300 Broadway shows, including at least 90 more than the first edition. Organized by show, each song is annotated with the name of the character(s) who sing(s) the song, the vocal range, and a style category, such as uptempo, narrative ballad, swing ballad, moderate character piece, etc. Several indexes are supplied, organizing the songs by voice type (soprano, baritone, etc.) and song style, vocal arrangement (duets, trios, chorus, etc.), and composer and lyricist, allowing increased access to the repertoire. For instance, a soprano looking for a ballad to sing will find every song in that category in the index. All solos, duets, and trios are indexed in this manner, with quartets and larger ensembles listed by voice type. Furthermore, the instant breakdowns (how many lead characters, who sings what song, and the range requirements of each character) will be a valuable resource to directors and producers.

Lowell Mason, Horatio Parker, Amy Beach, Charles Ives, Edward MacDowell, and Arthur Foote are but some of the American composers featured in this guide.

The second movement from DeVenney's outstanding new edition of this American choral masterpiece, this choral score features a complete piano reduction - reduced to cue-note size. This reformatting allows for printing on a more convenient format for choruses, at a more reasonable price.

The first movement from DeVenney's outstanding new edition of this American choral masterpiece, this choral score features a complete piano reduction - reduced to cue-note size. This reformatting allows for printing on a more convenient format for choruses, at a more reasonable price.

The sixth movement from DeVenney's outstanding new edition of this American choral masterpiece, this choral score features a complete piano reduction - reduced to cue-note size. This reformatting allows for printing on a more convenient format for choruses, at a more reasonable price.

A companion to the new edition of this American choral masterpiece, this choral score features a complete piano reduction - reduced to cue-note size. This reformatting allows for printing on a more convenient format for choruses, at a more reasonable price.

Composed by the youthful John Knowles Paine between 1860 and 1866, the Mass in D, Op. 10 was the first large-scale American work performed before a sophisticated musical audience in a European capital. The premiere, with soli, 200-member chorus and orchestra, was conducted by the composer in Berlin's Singakademie on February 16th, 1867 to much acclaim. This newly engraved and thoroughly researched vocal score here has been prepared by David P. DeVenney from the manuscript and the 1866 first edition vocal score issued under the composer's supervision in New York.