Michael Broyles shows how three key decades—the 1840s, the 1920s, and the 1950s—shaped America’s musical future. In each, new styles of music combined with emerging technologies, from the locomotive to the transistor radio, to have lasting impact on our cultural landscape. All too often, these new developments revealed racial fault lines running through the business of music in an echo of American society as a whole. Through the music of each decade we see the social, cultural and political fabric of the time. A variety of characters serve as focal points for each chapter, including the original Jim Crow, a colorful Hungarian dancing master named Gabriel De Korponay, “Empress of the Blues� Bessie Smith, and the singer Johnnie Ray, whom Tony Bennett called “the father of rock ‘n’ roll.� Their stories, and many others, animate this fascinating look at how American music became what it is today.

Edited version of the 1837 journal of American musician Lowell Mason written while traveling through Europe. By the middle of the nineteenth century Lowell Mason (1792-1872) was probably the most famous native-born musician in America. Concentrating almost exclusively on vocal music, he built a spectacular reputation as a choir directorand teacher. He published many collections of sacred music that sold in unprecedented numbers and made him a household name. In 1837 he traveled to Europe on a little-publicized trip. This was a bold move decades before such trips by American musicians became commonplace, and his diaries from this time are a primary source of information on early nineteenth-century European music. This edition of Mason's 1837 journal has been carefully edited: throughout, Broyles has attempted to reproduce the original manuscript faithfully, making adjustments only where necessary for intelligibility. Appendices include a list names with brief biographies, an itinerary of the tour, and those letters received during the trip that still survive. An introduction completes this unique and highly readable volume. Michael Broyles is Distinguished Professor of Music and Professor of American History Emeritus at PennState University and Visiting Professor at Florida State University.

Beethoven permeates American culture. His image appears on countless busts and coffee mugs; his music is heard in movie scores, TV soundtracks, commercials, and pop songs; he is Schroeder s god in Peanuts and Chuck Berry s freaked-out parent in "Roll over Beethoven." In this book, Michael Broyles seeks to understand the composer as he exists in the American imagination and explores how Beethoven became a cultural icon. Broyles examines Beethoven s appearance in a variety of contexts: American commercialism, the Afrocentrist and black power movements, and the modernist critique of Romanticism. He considers portrayals of Beethoven in American film and theater and the uses of his music in film scores, as well as references to Beethoven and his music in disco, country, rock, and rap. In the end, he shows that to examine Beethoven on American soil is to examine America itself."

From colonial times to the present, American composers have lived on the fringes of society and defined themselves in large part as outsiders. In this stimulating book Michael Broyles considers the tradition of maverick composers and explores what these mavericks reveal about American attitudes toward the arts and about American society itself. Broyles starts by examining the careers of three notably unconventional composers: William Billings in the eighteenth century, Anthony Philip Heinrich in the nineteenth, and Charles Ives in the twentieth. All three had unusual lives, wrote music that many considered incomprehensible, and are now recognized as key figures in the development of American music. Broyles goes on to investigate the proliferation of eccentric individualism in all types of American music-classical, popular, and jazz-and how it has come to dominate the image of diverse creative artists from John Cage to Frank Zappa. The history of the maverick tradition, Broyles shows, has much to tell us about the role of music in American culture and the tension between individualism and community in the American consciousness.

Leo Ornstein: Modernist Dilemmas, Personal Choices traces the meteoric rise and heretofore inexplicable disappearance of the Russian-American, futurist-anarchist, pianist-composer from his arrival in the United States in 1906 through a career that lasted nearly a century. Outliving his admirers and critics by decades Leo Ornstein passed away in 2002 at the age of 108. Frequently compared to Igor Stravinsky and Arnold Schoenberg, for a time Ornstein enjoyed a kind a celebrity granted few living musicians. And then he turned his back on it all. This first, full-length biographical study draws upon interviews, journals, and letters from a wide circle of Ornstein's friends and acquaintances to track the Ornstein family as it escaped the horrors of the Russian pogroms, and it situates the Russian-Jewish-American musician as he carved out an identity amidst World War I, the flu pandemic, and the Red Scare. While telling Leo Ornstein's story, the book also illuminates the stories of thousands of immigrants with similar harrowing experiences. It also explores the immeasurable impact of his unexpected marriage in 1918 to Pauline Mallet-Prevost, a Park Avenue debutante.

Leo Ornstein: Modernist Dilemmas, Personal Choices finds Ornstein at the center of several networks that included artists John Marin, William Zorach, Leon Kroll, writers and activists Paul Rosenfeld, Waldo Frank, Edmund Wilson, and Clair Reis, the Stieglitz Circle, and a group of English composers known as the Frankfurt Five. Ornstein's story challenges directly the traditional chronology and narrative regarding musical modernism in America and its close relation to the other arts.

In Bach in America, volume 5 of Bach Perspectives, nine scholars track Johann Sebastian Bach's reputation in America from an artist of relative obscurity to a cultural mainstay whose music has spread to all parts of the population, inspired a wealth of scholarship, captivated listeners, and inspired musicians.

More than a hundred years passed after Bach's death in 1750 before his music began to be known and appreciated in the United States. Barbara Owen surveys Bach's early reception in America and Matthew Dirst focuses on John Sullivan Dwight's role in advocating Bach's work. Michael Broyles considers the ways Bach's music came to be known in Boston and Mary J. Greer offers a counterpoint in her study of Bach's reception in New York.

The volume continues with Hans-Joachim Schulze's essay linking the American descendants of August Reinhold Bach to J. S. Bach through a common sixteenth-century ancestor. Christoph Wolff focuses on Bach's descendants in America, particularly Friederica Sophia Bach, the daughter of Bach's eldest son, Wilhelm Friedemann. Peter Wollny evaluates several manuscripts not included in Gerhard Herz's study of Bach Sources in America. The book concludes with examinations of Bach's considerable influence on American composers. Carol K. Baron compares the music of Bach and Charles Ives and Stephen A. Crist measures Bach's influence on the jazz pianist and composer Dave Brubeck.