Many of the following listed items have been used in class. Those on MUH Reserve in the UCF Library are so marked; otherwise, the item is in the general stacks of the library. Please remember that your classmates may need access to these items, too. Try not to monopolize items, and return unused items to the UCF Library as soon as you are finisehd with them.
Gilbert Chase, America's Music, from the Pilgrims to the Present (Urbana : University of Illinois Press, 1987). [ML200 .C5 1987]
Richard Crawford, America's Musical Life (New York : Norton, 2001). [ML200 .C69 2001]
Charles Hamm, Music in the New World (New York : Norton, 1983). [ML200 .H17 1983]
H. Wiley Hitchcock, Music in the United States (Upper Saddle River, NJ : Prentice Hall, 2000). [ML200 .H58 2000]
Gilbert Chase, ed., The American Composer Speaks: A Historical Anthology, 1770-1965 (Baton Rouge: Louisiana State University Press, 1966). [x, 318 pp. ISBN 0807103470.]
At the time of its publication, a noticeable vacancy of scholarly resources which emphasized the role of American composers on Western Music History existed. Gilbert Chase's book was the first of its kind, giving a voice to composers who together comprised two hundred years of our nation's music history. The usefulness of this book for current students and musicologists is in no way diminished by its age. Its chronological orientation offers a frame of reference for the thirty essays which include everything from autobiographies to treatises on the state of music in the mid-twentieth century. Composers ranging from William Billings to Stephen Foster, Charles Ives to "Jelly Roll" Morton, and George Gershwin to Roger Sessions, write candidly of their experiences. Chase prefaces each of their essays with a brief biographical sketch and completes the volume with a bibliography and index. [T. Miller]
David Ewen, The Life and Death of Tin Pan Alley (New York : Funk and Wagnall's, 1964)
Tin Pan Alley is now a part of American musical history, but for half a century it produced giants among composers and superb, never-to-be-forgotten popular music. During its heyday it was the center of an almost incredible number of brilliant composers and lyric writers as well as vigorous publishers and promoters. In The Life and Death of Tin Pan Alley, this memorable era of outstanding popular songs, of remarkably creative composers, of publishers and song pluggers with unusual initiative and drive, and of brilliant performers who carried songs to audiences, is brought to life in vivid detail. Here, too, is an convincing and interesting review of the development of our popular music: Civil War songs, barbershop harmonies, topical and geographical songs, operettas, ragtime, "mammy" songs, nonsense songs, jazz, the blues-all interwoven with the stories of the composers, publishers, and performers who made our popular music so rich, imaginative, and diversified. [J. Gautier]
Charles Hamm, Yesterdays : Popular Song in America (New York: W. W. Norton, 1979).
Charles Hamm's Yesterdays : Popular Song in America charts the history of American popular songs from the 18th century to the mid-1970s. In his discussion of these songs, Hamm discusses the primary music that has had an influence on America. He mentions British concert and stage music as well Italian operatic songs and German songs in the 19th century. Hamm expands on minstrelsy as the beginning of American song writing. Although this book is informative it lacks stability and Hamm does not always connect to the main point of the book. [P. Mason]
Edith J.R. Isaacs, The Negro in the American Theatre (New York: Theatre Arts, Cambridge Press, 1947).
Edith Isaacs identifies four significant moments in the history of blacks in American theatre: the minstrelsy in which Billy Kersands, James Blend, and Sam Lucas became prominent; the turn of the century, which featured comedians Bob Cole, Earnest Hogan, and Bert Williams, the year 1914, which saw the rise and success of Ridgely Torrence's Granny Maumee; and the 1940s, with Paul Robeson, Duke Ellington's Beggar Holiday, and last but not certainly least, Gershwin's Porgy and Bess. These were thought of by the author as being no longer separate from American theatre as a whole. [M. Terrell]
Scott Miller, Strike Up the Band: A New History of Musical Theatre, (s.l.?: Heinemann Drama, 2006)
In Strike Up the Band, Scott Miller tells the whole story of musicals, revealing their political and social conscience, and chronicling their incredibly rapid evolution over the last century. Strike Up the Band focuses not only on what happened on stage but also on how it happened and why it matters to us today. Miller offers a forward-looking perspective on treasures from each era while also looking at fascinating, genre-busting, and often short-lived productions, to see how even unsuccessful musicals defined and advanced the art form. Miller offers insight and inside information about the artistic approaches various composers, lyricists, book writers, and directors have taken, and how those approaches have changed over time, as well as what social and historical forces continue to shape musical theatre today. [P. Mason]
Don Rayno, Paul Whiteman Pioneer in American Music, Volume 1: 1890-1930 (Oxford: Scarecrow Press, 2003).
Rayno makes a significant contribution to the study of Jazz in his 773-page book on Paul Whiteman. In addition to 19 chapters that detail his band and career, the book also contains a gallery of Whiteman musicians, a chronology, a discography, a general index, index of places, index of songs and concert works, and discography index of composers and lyricists. Of particular interests is Chapter 8, An Experiment in Modern Music that gives a painfully detailed account of the events leading up to the concert in Aeolian Hall from the perspective of Whiteman. There are also accounts of the concert from critics such as Olin Downes as well many of the musicians in the Whiteman band. This is an extraordinary book for any scholar seeking information on the Paul Whiteman band or George Gershwin's Rhapsody in Blue. [K. Strang]
Wilfrid Sheed, The House that George Built: With a Little Help from Irving, Cole and a Crew of About Fifty (??: Random House Trade Paperbacks [Reprint edition], 2008)
Sheed has created a loving, distinctive look at the classic era of American popular song from the "piano era" of Irving Berlin and George Gershwin to the post-World War II era. In this book, he uses a more subjective, casual approach as he looks back at the top tunesmiths of Tin Pan Alley, Broadway and Hollywood. In chapters focusing on individual composers, Sheed discusses Harold Arlen, Hoagy Carmichael, Duke Ellington, Jerome Kern, Cole Porter, and Richard Rodgers. The essays are delightfully amusing, insightful depictions-certainly not full scholarly biographies. Sheed notes that this is not a work of scholarship (I did not see any footnotes or endnotes). There is, however, "A Note on Sources" listing various dialogues and interviews Sheed has had over the years with songwriters and their acquaintances. While this will not replace any of the many scholarly works on this era or on the individual songwriters, it is a valuable commentary. [J. Gautier]
John Warthen Struble, The History of American Classical Music (New York, NY: Facts On File Inc., 1995)
I found it interesting that a book which is called the history of American Classical music only had roughly 30 pages dedicated to George Gershwin. In my opinion he is by far the best-known and most popular American composer who ever essayed symphonic works and operas. The information listed did however give examples of how Gershwin approached writing his compositions, where he received his inspiration for writing, and how he and his brother would work together to create these incredible masterpieces. This book is designed to give readers a brief history of American composers so it never really goes into great detail about one individual composer. [F. Wosar]
William Young and Nancy Young, Music of the Great Depression, (Connecticut: Greenwood Press, 2005)
From jazz to classical, rock and religious, this remarkable book covers the genres that were important to the impoverished people of the great depression. Music of the Great Depression is actually part of the "American History through Music Series," which is comprised of books that mark important eras in the United States. Although the book does not go into great detail about the European influence in our music at the time, it specifically focuses on how the social, economic, political and technological influences shaped the music. In a chronological manner, Music of the Great Depression also covers significant music and musicians in all genres and in different mediums, whose main goal was to uplift the spirits of all Americans. Due to our present day situation, it would probably make a great read for today as well. [D. Rojas]
Norbert Carnovale, George Gershwin : A Bio-Bibliography (Westport, CT : Greenwood Press, 2000). [UCF Library: ML 134 .G29 C37 2000]
David Ewen, George Gershwin: His Journey to Greatness (Prentice-Hall, New Jersey, 1970).
Steven E. Gilbert, The Music of Gershwin (New Haven: Yale UP, 1995) [UCF Library: ML 410 .G288 G55 1995] [RESERVE] - R. Boehme
Isaac Goldberg, George Gershwin : A Study in American Music, New ed. (New York: F. Ungar Pub. Co, 1958). [UCF Library: ML 410.G288 G7 1958]
Rodney Greenberg, George Gershwin 20th-Century Composers (London: Phaidon, 1998). [UCF Library: ML 410.G288 G74 1998]
William G. Hyland, George Gershwin: A New Biography (Westport, Connecticut: Praeger, 2003). [UCF Library: ML 410 .G288 H95 2003] [RESERVE] - D. Herzog, N. Carson
Edward Jablonski, Gershwin (New York: Doubleday, 1987). [UCF Library: ML410 .G288 J29 1987]
Edward Jablonski, Gershwin Remembered (New York: Doubleday, 1987). [UCF Library: ML 410 .G28 J22 1992] [RESERVE]
Edward Jablonski and Lawrence D. Stewart, The Gershwin Years (Garden City, New York: Doubleday & Company, Inc., 1973). [UCF Library: ML 410 .G288 J3 1973]
Alan Kendall, George Gershwin (New York: Universe Books, 1987).
Robert Kimball and Alfred Simon, The Gershwins (New York, Atheneum, 1973). [UCF LIBRARY: ML 410 .G288 K55 1973]
Joan Peyser, The Memory of All That : The Life of George Gershwin (New York : Simon & Schuster, 1993). [UCF Library: ML410 .G288 P5 1993] [RESERVE]
Howard Pollack, George Gershwin (Berkeley : University of California Press, 2006). [UCF Library: ML410.G288 P65 2006] [RESERVE] - E. Watford
Walter Rimler, A Gershwin Companion: a Critical Inventory and Discography, 1916-1984 (Ann Arbor, Michigan: Popular Culture, Ink., 1991).
Deena Rosenberg, Fascinating Rhythm: The Collaboration of George and Ira Gershwin (New York: Dutton, 1991). [UCF Library: ML 410 .G288 R67 1991]
David Schiff, Gershwin, Rhapsody in Blue (Cambridge: Cambridge UP, 1997). [UCF Library: ML410 .G288 S27 1997]
Wayne Schneider, The Gershwin Style: New Looks at the Music of George Gershwin (New York: Oxford University Press, 1999). [UCF Library: ML 410 .G288 G49 1999] [RESERVE] - J. St. John
Charles Schwartz, George Gershwin : A Selective Bibliography and Discography (Detroit: Information Coordinators [for the College Music Society]: 1974). [UCF Library: ML 410 .G288 S39 1974]
Charles Schwartz, Gershwin: His Life and His Music (Indianapolis & New York: The Bobbs-Merrill Company, 1973).
Larry Starr, George Gershwin (New Haven : Yale University Press, 2011) [UCF LIBRARY: ML 410 .G288 S73 2011] [RESERVE] - M. McCabe
Gregory R. Suriano, Gershwin in His Time : A Biographical Scrapbook, 1919-1937 (New York: Gramercy Books, 1998).
Robert Wyatt and John Andrew Johnson, eds., The George Gershwin Reader (Oxford U Press, 2004). [UCF Library: ML 410 .G288 G47 2004] [RESERVE]
Leonard Bernstein,"Why Don't You Run Upstairs and Write a Nice Gershwin Tune?" The Atlantic Monthly 195/4 (April 1955): 39-42 [Reissued in Leonard Bernstein, The Joy of Music (NY: Simon & Schuster, 1978), 52-62, and Wyatt and J.A. Johnson, eds., The George Gershwin Reader (Oxford U Press, 2004), 293-300.]
Olin Downes, "A Concert of Jazz," New York Times 73 (13 February 1924): 16 [Reprinted in Wyatt and Johnson, pp. 49-51.]
Ira Gershwin, Lyrics on Several Occasions: A Selection of Stage & Screen Lyrics Written for Sundry Situations; and Now Arranged in Arbitrary Categories. To Which Have Been Added Many Informative Annotations & Disquisitions on Their Why & Wherefore, Their Whom-For, Their How; and Matters Associative. (New York: Alfred A. Knopf, 1959.)
Carol J. Oja, "Gershwin and American Modernists of the 1920's," The Musical Quarterly 78 (1994): 646-668.
Wayne D. Shirley, "Scoring the Concerto in F: George Gershwin's First Orchestration," American Music 3 (1985): 277-298. [available in JSTOR]
Wayne D. Shirley, "The 'Trial Orchestration' of Gershwin's 'Concerto in F'," Notes 39 (1983): 570-579. [available in JSTOR]
"Whiteman Judges Names : Committee Will Decide 'What is American Music"," New York Tribune (4 January 1924) [Reprinted in Wyatt and Johnson, pp. 44-5.]
Paul Whiteman and Mary Margaret McBride, "An Experiment," Jazz (New York: J.H. Sears, 1926) [Reprinted in Wyatt and Johnson, pp. 45-9.]
George & Ira Gershwin, Lady, Be Good! [UCF Library Media Center: M 1500 .G47 L33 1992]
George & Ira Gershwin, Oh,Kay! [UCF Library Media Center: M 1500 .G47 O4 1998]
George & Ira Gershwin, Strike Up the Band [UCF Library Media Center: M 1500 .G47 S77 1991]
Richard Crawford, "It Ain't Necessarily Soul: Gershwin's "Porgy and Bess" as a Symbol," Anuario Interamericano de Investigacion Musical 8 (1972): 17-38.
Charles Hamm, "The Theatre Guild Production of 'Porgy and Bess'," Journal of the American Musicological Society 40 (1987): 495-532.
DuBose Heyward, Porgy (New York: George H. Doran Company, 1925).
Joseph Horowitz, "On my way" : the untold story of Rouben Mamoulian, George Gershwin, and Porgy and Bess (New York : W. W. Norton & Company, 2013) [UCF LIBRARY: ML 410 .G288 H67 2013] - K. Parker
Ellen Noonan, The strange career of Porgy and Bess : race, culture, and America's most famous opera (Chapel Hill : University of North Carolina Press, 2012) [UCF LIBRARY: ML 410 .G288 N66 2012]
Lawrence Starr, "Toward a Reevaluation of Gershwin's Porgy and Bess," American Music 2 (1984): 25-37.
Joseph Swain, "America's Folk Opera" (excerpt), The Broadway Musical : A Critical and Musical Survey (New York: Oxford U Pres, 1990), 51-57. [Reprinted in Wyatt and Johnson, pp. 193-201.]
Aaron Copland : A Self-Portrait (Films for the Humanities, 1987) [UCF Media VHS TAPE : ML 410 .C756 A43 1987]
Arthur Berger, Aaron Copland (New York: Oxford UP, 1953; reprinted, New York: Da Capo Press, 1990) [UCF Library: ML 410. C756 B4 1990; also see earlier reprint eds. for 1975 and 1977] [RESERVE]
Aaron Copland, Copland on Music (Doubleday & Company, Inc. New York, 1960). [UCF Library: ML 63 .C48 1960] [RESERVE] - D. Herzog
Aaron Copland, Music and Imagination, The Charles Elliot Norton Lectures, (Cambridge, MA.: Harvard University Press, 1952). [UCF Library: ML 3853 .C7 1977]
Aaron Copland, The New Music 1900-1960, rev. and enlarged ed. (New York: W.W. Norton & Co., Inc, 1968). [UCF Library: ML 197 .C76 1968] [RESERVE]
Aaron Copland, What to Listen for in Music (New York: McGraw-Hill Book Co., Inc, 1957). [UCF Library: MT 6 .C78 1957]
Aaron Copland and Vivian Perlis, Copland. 1900 through 1942, 1st ed. (New York: St. Martin's /Marek, 1984). [UCF Library: ML 410 .C756 A3 1984] [RESERVE]
Elizabeth B. Crist, Music for the Common Man : Aaron Copland During the Depression and War (New York: Oxford University Press, 2005). [UCF Library: eBook (access online only)] [RESERVE] - R. Boehme
Elizabeth B. Crist and Wayne Shirley, eds., The Selected Correspondence of Aaron Copland (New Haven: Yale University Press, 2006). [UCF Library: ML 410 .C756 A4 2006] [RESERVE]
Richard Kostelanetz, ed., Aaron Copland: A Reader, Selected Writings 1923-1972 (New York: Routledge, 2004). [UCF Library: ML 410 .C756 A25 2004] [RESERVE] - N. Carson
Gail Levin, and Judith Tick, Aaron Copland's America: A Cultural Perspective, (New York: Watson-Guptill Publications, 2000). [UCF Library: ML 410 .C726 L48 2000] [RESERVE] - M. McCabe
Carol Oja and Judith Tick, eds., Aaron Copland and His World (Princeton: Princeton University Press, 2005). [UCF Library: ML 410 .C756 A67 2005] [RESERVE]
Howard Pollack, Aaron Copland : The Life and Work of an Uncommon Man (Urbana : University of Illinois Press, 2000). [UCF Library: ML 410 .C726 P6 1999] [RESERVE] - E. Watford
Joann Skowronski, Aaron Copland : A Bio-Bibliography, Bio-Bibliographies in Music, Nr. 2 (Westport, CT: Greenwood Press, 1985). [UCF Library: ML 410 .C78 S55 1985]
Dorothy Z. Baker, "Aaron Copland's Twelve Poems of Emily Dickinson : A Reading of Dissonance and Harmony." The Emily Dickinson Journal 12/1 (Spring 2003): 1-24.
Sally Bick, "Of Mice and Men: Copland, Hollywood and American Musical Modernism," American Music 23 (2005): 426-472.
Elizabeth Bergman Crist, "The Compositional History of Aaron Copland's Symphonic Ode," American Music 18/3 (Autumn, 2000): 257-277.
Daniel Felsenfeld, Ives and Copland: A Listener's Guide, Parallel Lives Series, Nr. 1 (Pompton Plains, NJ: Amadeus Press, 2004) [UCF Library: ML 390 .F35 2004; plus accompanying CD] [RESERVE] (Review by )
Marian Horosko, Martha Graham : The Evolution of her Dance Theory and Training (Gainesville: University Press of Florida, 2002).
Stanley V. Kleppinger. "On the Influence of Jazz Rhythm in the Music of Aaron Copland," American Music 21, No. 1 (Spring, 2003): 74-11
Mademoiselle : A Portrait of Nadia Boulanger (Indian University Audio-Visual Center, 1987) [UCF Media VHS TAPE : ML 423 .B52 M6132 1987]
Marta Robertson and Robin Armstrong, Aaron Copland: A Guide to Research (London: Routledge, 2001).
Leonie Rosenstiel, Nadia Boulanger: A Life in Music (New York: W.W. Norton and Company, 1998).
Lawrence Starr, "Copland's Style," Perspectives of New Music 19, Nos. 1/2 (Autumn 1980-Summer 1981): 67-89.
Lawrence Starr, The Dickinson Songs of Aaron Copland, CMS Sourcebooks in American Music (Hillsdale, NY: Pendragon Press, 2002) [UCF Library: ML 410 .C756 S73 2002; plus accompanying CD] - K. Parker
Marc Vargo, Noble Lives : Biographical Portraits of Three Remarkable Gay Men : Glenway Wescott, Aaron Copland, Dag Hammarskjold (New York: Harrington Park Press, 2005) [UCF Library: HQ 75.7 .V37 2005] [RESERVE] (Review by )
Humphrey Burton, Leonard Bernstein (New York: Doubleday, 1994). [xiv. 594 pp. ISBN: 0-385-42345-4] [RESERVE]
Peter Gradenwitz, Leonard Bernstein: The Infinite Variety of a Musician (New York: St. Martin's Press, 1987). [ML4210 .B566 G713 1987] [RESERVE]
John Gruen, The private world of Leonard Bernstein. (New York, Viking Press, 1968). [ML410 .B566 G8 1968]
Johanna Hurwitz, Leonard Bernstein A Passion For Music (Philadelphia and Jerusalem : The Jewish Publication Society, 1993).
Paul R. Laird, Leonard Bernstein (London : Reaktion Books, 2018). [ML410 .B566 L35 2018] [RESERVE] - E. Watford
Paul Myers, Leonard Bernstein 20th-Century Composers (London: Phaidon Press, 1998). (ML410.B566 M94 1998) [RESERVE]
Carol Oja, Bernstein Meets Broadway: Collaborative Art in a Time of War (New York: Oxford University Press, 2014). (eBook) [RESERVE] - R. Boehme, K. Parker (eBook)
Joan Peyser, Bernstein: A Biography (New York: Beech Tree Books William Morrow, 1987). [ML410 .B566 P5 1998] [RESERVE]
Paul Robinson, Bernstein (London : Macdonald, 1982). [ML410 .B566 R6 1982x]
Meryle Secrest, Leonard Bernstein: A Life (New York: Alfred A. Knopf, 1994). [ML410 .B566 S43 1994] [RESERVE] - M. McCabe
Shawn, Allen, ed. Leonard Bernstein: an American Musician (New Haven: Yale University Press, 2014). [ML410 .B566 S53 2014] [RESERVE]
Kevin P. Bartram, "Lessons from a Master: Using the 'Bernstein Formula' in Music Classrooms," Music Educators Journal 90/4 (March 2004):19-24.
Burton Bernstein, Family Matters: Sam, Jennie, and the Kids, Rev. ed. (Lincoln, NE: iUniverse.com, 2000) [F73.9 .J5 B47 2000]
Burton Bernstein, Leonard Bernstein : American original ; how a modern renaissance man transformed music and the world during his New York Philharmonic years, 1943-1976, (New York: Collins, 2008) [ML410 .B566 B47 2008]
Jamie Bernstein, Famous father girl : a memoir of growing up Bernstein (New York: Harper, 2018) [ML410 .B566 B48 2018] {RESERVE] - N. Carson
Leonard Bernstein, Findings (New York: Simon & Schuster, 1982) [ML410 .B566 A3 1982] [RESERVE]
Leonard Bernstein, The Unanswered Question : Six Talks at Harvard (Cambridge, Mass.: Harvard University Press, 1976) [MT6 .B43 U6 1976] [RESERVE]
Leonard Bernstein, Young People's Concerts (Pompton Plains: Amadeus Press, 2005).
Schuyler Chapin, Leonard Bernstein : notes from a friend (New York: Walker, 1992) [ML410 .B566 C53 1992]
William Westbrook Burton, Conversations About Bernstein (??: Replica Books, 2001)
Jane Fluegel, ed. Bernstein Remembered (New York, New York : Carroll & Graf, 1991). [ML88 .B476 B47 1991]
Paul R. Laird, Leonard Bernstein: A Guide to Research (New York, Routledge, 2002).
Steven Ledbetter, ed., Sennets & tuckets : a Bernstein celebration (Boston : Boston Symphony Orchestra in association with D.R. Godine, 1988). [ML55 .B383 1988]
Joan Peyser, "The Bernstein Legacy," Opera News 65, no. 1 (2000): 22-7, 71
Alicia Kopfstein-Perk, Leonard Bernstein and His Young People's Concerts (New York: Rowman & Littlefield, 2015) eBook
David Michael Schiller, Bloch, Schoenberg, and Bernstein: assimilating Jewish Music (New York: Oxford University Press, 2003).
Thomas R. Seiler, Leonard Bernstein : the Last 10 Years : a Personal Portrait (Edition Stemmle: 2000). [ML410 .B566 S44 1999] - J. St. John
Nigel Simeone, ed. The Leonard Bernstein Letters (New Haven: Yale University Press, 2013). [ML410 .B566 A4 2013] - D. Herzog
Helen Smith, There's a Place for Us: The Musical Theatre Works of Leonard Bernstein (Ashgate: 2011).
Claudia Swan, The Harvard Years (New York : The Eos Orchestra, 1999)