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DTSTART;TZID=America/New_York:20260922T190000
DTEND;TZID=America/New_York:20260922T190000
DTSTAMP:20260417T093315
CREATED:20250826T201407Z
LAST-MODIFIED:20251230T142925Z
UID:17742-1790103600-1790103600@www.amsmusicology.org
SUMMARY:Music\, Disputes\, and the Silent Western: The Yaqui (1916)
DESCRIPTION:Embracing the visual arts\, literature\, and music\, interest in the West peaked in the early twentieth century. The emerging film industry capitalized on this enthusiasm\, and the genre became popular with audiences and lucrative for the studios. Like most silent films\, Westerns were accompanied by live musicians who used suggested musical programs to advise them what to play and when to play it during the film. These were often created by professional music directors\, such as Ernst Luz (1878-1937)\, who managed the orchestras at Loew’s movie theaters\, or proficient musicians\, like Max Winkler (1888-1965)\, who worked at Carl Fischer Music Publishing and later established his own music publishing firm. This presentation examines two differing musical accompaniments created by Luz and Winkler for The Yaqui—an early Mexican-border prestige Western\, the narrative of which is based on the enslavement of the Yaqui by the Mexican government—and the ensuing public debate about their appropriateness. Musical accompaniments for the silent Western\, like these by Winkler and Luz\, helped shape audiences’ perceptions of the West. This research offers the first critical examination of this music\, illuminating its significance in fortifying the mythical substance and interpreting the imagined realism of the Western film. \nThis event will be held as part of the AMS/Library of Congress Lecture Series. Tickets are free but required.
URL:https://www.amsmusicology.org/calendar/music-disputes-and-the-silent-western-the-yaqui-1916/
LOCATION:Library of Congress\, Washington\, DC
CATEGORIES:AMS/Library of Congress Lecture,Public Event
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DTSTART;TZID=America/New_York:20241204T070000
DTEND;TZID=America/New_York:20241204T210000
DTSTAMP:20260417T093315
CREATED:20240824T151356Z
LAST-MODIFIED:20250101T192251Z
UID:5733-1733295600-1733346000@www.amsmusicology.org
SUMMARY:AMS/LoC Lecture: Recovering the Extraordinary Life and Songs of Carrie Jacobs-Bond - Christopher Reynolds
DESCRIPTION:Carrie Jacobs-Bond (1861-1946) was the most successful songwriter – male or female – in the first half of the 20th century. Her most popular songs sold millions of copies of sheet music and records and were sung around the world\, translated into dozens of languages. Critics often thought of her music either as “semi-classical\,” as “high-class songs\,” or\, because so many millions of people sang her songs\, as folk music\, calling her a descendant of Stephen Foster. Americans sang her songs at weddings\, funerals\, and gatherings of all kinds\, usually by heart. She was also an early female entrepreneur\, founding her own music publishing house\, designing her early sheet music covers\, writing the lyrics to half of her nearly 200 songs. As a result she earned enough to build homes in Chicago\, in the hills north of San Diego\, and in Hollywood\, where she was one of the founding cultural figures. Before Mrs. Bond began to tour as a means of promoting her songs\, performing them to thousands of audiences over four decades\, there was no such thing as a woman singer-songwriter. And like popular folk and rock singer-songwriters in the 1960s and later\, she made no pretense of being a professional singer. Quite the contrary. \nA sure measure of Bond’s broad appeal: professional singers and performers of all musical styles embraced her songs. Many leading opera singers (e.g.\, Ernestine Schumann-Heink and Lawrence Tibbett) promoted them in their recitals\, in dozens of recordings\, and in testimonials. Vaudeville and Broadway musicians regularly performed her songs—Elsie Baker and Eubie Blake made early recordings; with the advent of national radio networks in the late 1920s\, popular musicians and swing band leaders increasingly arranged and recorded their versions. She was always among ASCAP’s top royalty earners. In 1938 her earnings of $10\,000 put her in an elite group with Irving Berlin\, Jerome Kern\, and George Gershwin’s estate. Yet while there are currently 19 biographies of Berlin (seven since 2000) and 18 of Gershwin (nine since 2000)\, there are no scholarly biographies of Mrs. Bond. \nJacobs-Bond’s life story and cultural significance\, like her songs\, are today mostly unknown. In this presentation\, Christopher Reynolds will examine what it is that made her such an extraordinarily significant figure\, and then discuss three of her songs that became central parts of American rituals: “I Love you Truly\,” at weddings\, “I’ve Done My Work\,” at funerals\, particularly those of Black Americans\, and “A Perfect Day\,” a song that was routinely sung to end public gatherings of all kinds\, a song favored above all others by WWI soldiers.
URL:https://www.amsmusicology.org/calendar/ams-loc-lecture-recovering-the-extraordinary-life-and-songs-of-carrie-jacobs-bond-christopher-reynolds/
LOCATION:Montepelier Room\, James Madison Memorial Building\, 101\,1199 Independent Ave SE\, Washington\, DC\, 20540\, United States
CATEGORIES:AMS/Library of Congress Lecture,Lectures,Public Event
ORGANIZER;CN="American Musicological Society (AMS)":MAILTO:events@amsmusicology.org
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DTSTART;TZID=America/New_York:20240928T020000
DTEND;TZID=America/New_York:20240928T160000
DTSTAMP:20260417T093315
CREATED:20240824T143424Z
LAST-MODIFIED:20240824T151441Z
UID:5702-1727488800-1727539200@www.amsmusicology.org
SUMMARY:AMS/LoC Lecture: Heard on the Small Screen: Music in Jack Arnold's and Henry Mancini's Episodes of Peter Gunn - Reba Wissner
DESCRIPTION:Best known for his science fiction films\, Jack Arnold also directed television episodes in different genres\, not only science fiction but also westerns\, comedies\, and detective shows.  Among all of his television works\, Peter Gunn provides an important example because this is the first television series that has an original score rather than library music for every episode (Withey\, 2001). This meant that the score would be composed specifically based on the rough cut of the episode\, considering the director’s choices. Before Peter Gunn\, television networks were required to have 13 original scores for a television season and any additional shows relied on music libraries to piece together cues for a complete score (Wissner\, 2013). Further\, the series was in a style of television noir (Glover\, 2019) that Arnold had to account for when directing and which series composer Henry Mancini had to consider when writing the score. Mancini  responded by composing a rock-jazz hybrid he deemed as West Coast Cool Jazz and this was the first television score to use jazz throughout\, pioneering a new style of television scoring in the late 1950s and early 1960s. One of the hallmarks of the series was that its music was inseparable from the show and often\, even its narrative\, and the show’s creator\, Blake Edwards\, noted that the series’ music was responsible for at least half of its success (Burlingame\, 2002). Much of the research on Arnold’s works concern his directorial practices and styles and the films themselves but there is little literature on his television episodes and virtually no literature on the music of these episodes. A discussion of the music in these episodes is important because the choice of music helps to heighten the directorial choices that Arnold made and understand how Mancini responded to those choices through his scores. \nAs a detective show\, which differed from much of Arnold’s other works\, Arnold had to fit the established parameters of the show when directing (he was called in to direct his first episode midway through the first season when Edwards had already established the series’ format). Similarly\, Mancini had to incorporate jazz\, which was pervasive in the detective genre in 1950s television\, with a consideration of each episode’s plot\, script\, and Arnold’s directing style. Mancini also established a unique compositional style for the series based on the onscreen action. In this lecture\, Reba Wissner will discuss how the composition of music amplifies Arnold’s directorial choices in his episodes of Peter Gunn (“The Hunt\,” “Vendetta\,” “Bullet for a Badge\,” “Love Me to Death\,” “Keep Smiling\,” and “The Ugly Frame”). Wissner will plot out Mancini’s compositional process as a reflection of Arnold’s directing choices by using Peter Gunn as a case study and elaborate on how this small scale study of Mancini’s music for the show under one director can be expanded to the other directors who worked on the series.
URL:https://www.amsmusicology.org/calendar/heard-on-the-small-screen-music-in-jack-arnolds-and-henry-mancinis-episodes-of-peter-gunn/
LOCATION:Pickford Theater\, James Madison Building\, Library of Congress\, 101 Independence Ave SE\, Washington\, DC\, 20540\, United States
CATEGORIES:AMS/Library of Congress Lecture
ORGANIZER;CN="American Musicological Society (AMS)":MAILTO:events@amsmusicology.org
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