Amy Beach was a pathbreaking composer and pianist who transcended the restrictions of nineteenth-century Boston to become America's most famous turn-of-the-century female composer and, later in her career, a prominent performing artist and promoter of music education. The Cambridge Companion to Amy Beach makes her life and music accessible to a new generation of listeners. It outlines her remarkable talent as a child prodigy, her marriage to a prominent physician twice her age, and her subsequent international acclaim as a composer and piano virtuoso. Analytical chapters examine the range of her musical output, from popular songs and piano pieces to chamber and symphonic works of great complexity. As well as introducing Beach's compelling music to those not yet familiar with her work, it provides new resources for scholars and students with in-depth information drawn from recently uncovered archival sources.

The year 1917 was unlike any other in American history, or in the history of American music. The United States entered World War I, jazz burst onto the national scene, and the German musicians who dominated classical music were forced from the stage. As the year progressed, New Orleans natives Nick LaRocca and Freddie Keppard popularized the new genre of jazz, a style that suited the frantic mood of the era. African-American bandleader James Reese Europe accepted the challenge of making the band of the Fifteenth New York Infantry into the best military band in the country. Orchestral conductors Walter Damrosch and Karl Muck met the public demand for classical music while also responding to new calls for patriotic music. Violinist Fritz Kreisler, pianist Olga Samaroff, and contralto Ernestine Schumann-Heink gave American audiences the best of Old-World musical traditions while walking a tightrope of suspicion because of their German sympathies. Before the end of the year, the careers of these eight musicians would be upended, and music in America would never be the same. Making Music American recounts the musical events of this tumultuous year month by month from New Year's Eve 1916 to New Year's Day 1918. As the story unfolds, the lives of these eight musicians intersect in surprising ways, illuminating the transformation of American attitudes toward music both European and American. In this unsettled time, no one was safe from suspicion, but America's passion for music made the rewards high for those who could balance musical skill with diplomatic savvy.

Amy Beach was a pathbreaking composer and pianist who transcended the restrictions of nineteenth-century Boston to become America's most famous turn-of-the-century female composer and, later in her career, a prominent performing artist and promoter of music education. The Cambridge Companion to Amy Beach makes her life and music accessible to a new generation of listeners. It outlines her remarkable talent as a child prodigy, her marriage to a prominent physician twice her age, and her subsequent international acclaim as a composer and piano virtuoso. Analytical chapters examine the range of her musical output, from popular songs and piano pieces to chamber and symphonic works of great complexity. As well as introducing Beach's compelling music to those not yet familiar with her work, it provides new resources for scholars and students with in-depth information drawn from recently uncovered archival sources.

In July of 1884, pianist Calixa Lavallee performed a recital of works by American composers that began a highly influential series of such concerts. Over the course of the next decade, hundreds of all-American concerts were performed in the United States and Europe, a movement that fostered both the development and the perception of American music as a unique art form. "A Tidal Wave of Encouragement"-the title of which is derived from one observer's description of the movement-is the first in-depth study of this significant period in American music. Providing a comprehensive history of the Concerts as well as detailed accounts of the intense critical debate surrounding them, author E. Douglas Bomberger reveals how one decade shaped the future of American classical music and very much impacted the way we hear it today.

The movement, crucial in focusing discussion on American music and providing performance opportunities for composers and musicians for whom no such opportunities had before existed, was far more extensive and widespread than most scholarship had credited it. This oversight is due in large part to the dearth of objective studies of the Concerts; previous considerations have tended either toward the merely nostalgic or toward the unnecessarily disparaging. Bomberger's work is a corrective to this, as well as much-needed historical and critical account of a project whose influence had yet to be fully acknowledged.

The series of biographical sketches published by "Brainard's Musical World" between 1877 and 1889 is notable for the diversity of the musicians profiled and for the entertaining personal information provided. This period witnessed the establishment of musical institutions and attitudes toward music that have shaped American music to the present day. The biographies present a cross-section of American musicians in the late 19th century, including singers, instrumentalists, writers, teachers, and composers. Among the musicians included are some of America's most prominent conductors, such as Theodore Thomas and Leopold Damrosch; composers, such as John Knowles Paine and George F. Root; writers, such as John S. Dwight and Amy Fay; teachers, such as William Mason and Erminia Rudersdorff; and performers, such as Emma Abbott and Maud Powell. Scores of less familiar musicians who were also instrumental in shaping America's music are included as well. Originally intended for general readers, the biographical sketches not only shed light on musical topics but also include personal information that is seldom found in a traditional dictionary and which speaks to the attitudes and concerns of the late 19th century society.

This work will be of value to scholars and researchers of 19th-century American music and to those interested in the development of popular song. Entries are alphabetically arranged and include select bibliographies. A general bibliography and index are also included.

Edward MacDowell was born on the eve of the Civil War into a Quaker family in lower Manhattan, where music was a forbidden pleasure. With the help of Latin-American emigre teachers, he became a formidable pianist and composer, spending twelve years in France and Germany establishing his career. Upon his return to the United States in 1888 he conquered American audiences with his dramatic Second Piano Concerto and won his way into their hearts with his poetic Woodland Sketches. Columbia University tapped him as their first professor of music in 1896, but a scandalous row with powerful university president Nicholas Murray Butler spelled the end of his career. MacDowell died a broken man four years later, but his widow Marian kept his spirit alive through the MacDowell Colony, which she founded in 1907 in their New Hampshire home, and which is today the oldest and one of the most influential, thriving artist colonies in the the United States. Drawing on private letters that were sealed for fifty years after his death, this biography traces MacDowell's compelling life story, with new revelations about his Quaker childhood, his efforts to succeed in the insular German music world, his mysterious death, and his lifelong struggle with Seasonal Affective Disorder. Edward MacDowell's story is a timeless tale of human strength and weakness set in one of the most vibrant periods of American musical history, when optimism about the country's artistic future made anything seem possible."