Introduction |
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vii | |
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JEFFREY H. JACKSON AND STANLEY C. PELKEY |
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PART I: PERSONAL REFLECTIONS |
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The Musical Odyssey of an American Historian |
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3 | (20) |
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PART II: ATTEMPTS TO BRIDGE THE DISCIPLINES |
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"But a Musician"-The Importance of the Underdog in Musico-Historical Research |
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Music Professionalism in a Small Sixteenth-Century Oxford College |
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23 | (21) |
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Women and Popular Song during the French Revolution |
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44 | (17) |
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Music, Memory, and the People in Selected British Periodicals of the Late Eighteenth and Early Nineteenth Centuries |
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61 | (23) |
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Music by the "Celebrated Mozart" |
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A Philadelphia Publishing Tradition, 1794-1861 |
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84 | (15) |
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Symbolism, Arts Policy, and the New Right |
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99 | (16) |
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Progressive Ideals for the Opera Stage? |
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The Padrone and Frederick S. Converse's The Immigrants |
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115 | (28) |
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PART III: CRITIQUES OF MUSIC AND HISTORY |
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THE PERSPECTIVE OF CULTURAL STUDIES |
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Fictions of Alien Identities |
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Cultural Cross-Dressing in Nineteenth- and Early Twentieth-Century Opera |
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143 | (20) |
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Lynching, Law, and Order in the New South |
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163 | (18) |
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PART IV: METHODOLOGICAL APPROACHES |
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Henry Purcell and The Universal Journal |
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The Building of Musical Canon in the 17205 |
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181 | (19) |
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WILLIAM WEBER AND DONALD BURROWS |
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"Dixie," "Battle Hymn of the Republic," and Civil War Music in the History Classroom |
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200 | (20) |
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Cultural History and the Interdisciplinary Study of Popular Music |
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220 | (36) |
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Response |
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256 | (6) |
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JEFFREY H. JACKSON AND STANLEY C. PELKEY |
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Contributors |
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262 | (3) |
Index |
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265 | |