Contents -- List of Illustrations -- Introduction -- 1540-1770 -- 1. Early Encounters between Indigenous Peoples and European Explorers -- 2. From the Preface to the First Edition of the Bay Psalm Book -- 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 -- 6. Benjamin Franklin Advises His Brother on How to Write a Ballad and How Not to Write like Handel -- 7. Social Music for the Elite in Colonial Williamsburg -- 8. Advertisements and Notices from Colonial Newspapers -- 1770-1830 -- 9. "Christopher Crotchet, Singing Master from Quavertown" -- 10. Singing the Revolution -- 11. Elisha Bostwick Hears a Scots Prisoner of War Sing "Gypsie Laddie" -- 12. A Sidebar into Ballad Scholarship: The Wanderings of the "Gypsy Laddie" -- 13. William Billings and the New Sacred Music -- 14. Daniel Read on Pirating and "Scientific Music" -- 15. Turn-of-the-Century Theater Songs from Reinagle, Rowson, and Carr: "America, Commerce, and Freedom" and "The Little Sailor Boy" -- 16. Padre Narciso Durán Describes Musical Training at the Mission San Jose -- 17. Moravian Musical Life at Bethlehem -- 18. Reverend Burkitt Brings Camp Meeting Hymns from Kentucky to North Carolina in 1803 -- 19. John Fanning Watson and Errors in Methodist Worship -- 20. Reverend James B. Finley and Mononcue Sing "Come Thou Fount of Every Blessing" -- 1830-1880 -- 21. Thomas D. Rice Acts Out Jim Crow and Cuff -- 22. William M. Whitlock, Banjo Player for the Virginia Minstrels -- 23. Edwin P. Christy, Stephen Foster, and "Ethiopian Minstrelsy" -- 24. Stephen Foster's Legacy -- 25. The Fasola Folk, The Southern Harmony, and The Sacred Harp -- 26. A Sidebar into the Discovery of Shape-Note Music by a National Audience.

27. The Boston Public Schools Set a National Precedent for Music Education -- 28. Lorenzo Da Ponte Recruits an Italian Opera Company for New York -- 29. Music Education for American Girls -- 30. Early Expressions of Cultural Nationalism -- 31. John S. Dwight Remembers How He and His Circle "Were but Babes in Music" -- 32. George Templeton Strong Hears the American Premiere of Bee-thoven's Fifth -- 33. German Americans Adapting and Contributing to Musical Life -- 34. Emil Klauprecht's German-American Novel Cincinnati -- oder, die Geheimnisse des Westens -- 35. P. T. Barnum and the Jenny Lind Fever -- 36. Miska Hauser, Hungarian Violinist, Pans for Musical Gold -- 37. From the Journals of Louis Moreau Gottschalk -- 38. The "Four-Part Blend" of the Hutchinson Family -- 39. Walt Whitman's Conversion to Opera -- 40. Clara Kellogg and the Memoirs of an American Prima Donna -- 41. Frederick Douglass from My Bondage and My Freedom -- 42. Harriet Beecher Stowe and Two Scenes from Uncle Tom's Cabin -- 43. From Slave Songs of the United States (1867) -- 44. A Sidebar into Memory: Slave Narratives from the Federal Writers' Project in the New Deal -- 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. Ella Sheppard Moore: A Fisk Jubilee Singer -- 49. Patrick S. Gilmore and the Golden Age of Bands -- 50. Theodore Thomas and His Musical Manifest Destiny -- 1880-1920 -- 51. John Philip Sousa: Excerpts from His Autobiography -- 52. Why Is a Good March like a Marble Statue? -- 53. Willa Cather Mourns the Passing of the Small-Town Opera House -- 54. Henry Lee Higginson and the Founding of the Boston Symphony Orchestra -- 55. American Classical Music Goes to the Paris World's Fair of 1889.

56. George Chadwick's Ideals for Composing Classical Concert Music -- 57. Late Nineteenth-Century Cultural Nationalism: The Paradigm of Dvorák -- 58. Henry Krehbiel Explains a Critic's Craft and a Listener's Duty -- 59. Amy Fay Tackles the "Woman Question" -- 60. Amy Beach, Composer, on "Why I Chose My Profession" -- 61. Edward MacDowell, Poet-Composer, Remembered -- 62. Paul Rosenfeld's Manifesto for American Composers -- 63. From the Writings of Charles Ives -- 64. Frédéric Louis Ritter Looks for the "People's Song" -- 65. Frances Densmore and the Documentation of American Indian Songs and Poetry -- 66. A Sidebar into National Cultural Policy: The Federal Cylinder Project -- 67. Charles K. Harris on Writing Hits for Tin Pan Alley -- 68. Scott Joplin, Ragtime Visionary -- 69. A Sidebar into the Ragtime Revival of the 1970s: William Bolcom Reviews The Collected Works of Scott Joplin -- 70. James Reese Europe on the Origin of "Modern Dances" -- 71. Irving Berlin on "Love-Interest as a Commodity" in Popular Songs -- 72. Caroline Caffin on the "Music and Near-Music" of Vaudeville -- 73. Ferdinand "Jelly Roll" Morton Describes New Orleans and the Discipline of Jazz -- 1920-1950 -- 74. Bessie Smith, Artist and Blues Singer -- 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 Explains That "Jazz Is the Voice of the American Soul" -- 83. William Grant Still, Pioneering African-American Composer -- 84. The Inimitable Henry Cowell as Described by the Irrepressible Nicolas Slonimsky.

85. Ruth Crawford Seeger and Her "Astonishing Juxtapositions" -- 86. "River Sirens, Lion Roars, All Music to Varèse": An Interview in Santa Fe -- 87. Leopold Stokowski and "Debatable Music" -- 88. Henry Leland Clarke on the Composers 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 -- 91. Virgil Thomson, Composer and Critic -- 92. Arthur Berger Divides Aaron Copland into Two Styles, and Copland Puts Himself Back Together Again -- 93. Aaron Copland on the "Personality of Stravinsky" -- 94. The American Period of Arnold Schoenberg -- 95. The Bristol Sessions and Country Music -- 96. Uncle Dave Macon, Banjo Trickster, at the Grand Ole Opry -- 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. The Hard Times of Emma Dusenbury, Source Singer -- 100. John and Alan Lomax Propose a "Canon for American Folk Song" -- 101. Woody Guthrie Praises the "Spunkfire" Attitude of a Folk Song -- 102. Fred Astaire Dances like a Twentieth-Century American -- 103. The Innovations of Oklahoma! -- 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 -- 107. Ralph Ellison on the Birth of Bebop at Minton's -- 1950-1975 -- 108. Ella Fitzgerald on Stage -- 109. Leonard Bernstein Charts an Epic Role for Musical Theater -- 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 a Musical Twister -- 113. Chuck Berry in His Own Words -- 114. The Five-String Banjo: Hints from the 1960s Speed Master, Earl Scruggs -- 115. Pete Seeger, a TCUSAPSS, Sings Out!.

116. Bob Dylan Turns Liner Notes into Poetry -- 117. Janis Joplin Grabs Pieces of Our Hearts -- 118. "Handcrafting the Grooves" in the Studio: Aretha Franklin at Muscle Shoals -- 119. Jimi Hendrix, Virtuoso of Electricity -- 120. Amiri Baraka Theorizes a Black Nationalist Aesthetic -- 121. Greil Marcus and the New Rock Criticism -- 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 -- 126. George Crumb and Black Angels: A Quartet in Time of War -- 127. Milton Babbitt on Electronic Music -- 128. Edward T. Cone Satirizes Music Theory's New Vocabulary -- 129. Mario Davidovsky: An Introduction -- 130. Elliott Carter on the "Different Time Worlds" in String Quartets Nos. 1 and 2 -- 131. John Cage: Words and Music of Changes -- 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 -- 136. Tom Johnson Demonstrates What Minimalism Is Really About -- 137. Morton Feldman and His West German Fan Base -- 138. Philip Glass and the Roots of Reform Opera -- 139. Laurie Anderson Does "Stand-Up" Performance Art -- 140. Meredith Monk and the Revelation of Voice -- 141. Recapturing the Soul of the American Orchestra -- 142. Two Economists Measure the Impact of Blind Auditions -- 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 J. Boorstin's Welcoming Remarks at the Conference on Ethnic Recordings in America.

148. Willie Colón on "Conscious Salsa".