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Notes
1 White and White, “At intervals I was nearly stunned by the noise he made.”
2 Graham, Spirituals and the Birth of a Black Entertainment Industry; Lott, Love and Theft; Thompson, Ring Shout, Wheel About.
3 Dipert, Artifacts, Art Works and Agency.
4 This point has been made for many years and from many perspectives; for example, see DeNora, Music in Everyday Life; Dewey, Art As Experience; Ingarden, The Work of Music and the Problem of Its Identity; Small, Musicking; Turino, Music As Social Life.
5 Performing historical works opens even greater opportunities for empathy; see Mancini, “‘Because It Is My Culture’”; Strandberg, “Music History Beyond the Classroom.”
6 Popular music studies in particular have exploited performativity and sociocultural positioning; see Díaz-Santana Garza, Between Norteño and Tejano Conjunto; Edwards, Johnny Cash and the Paradox of American Identity; Linn, That Half-Barbaric Twang; Rose, Black Noise.
7 Broyles, Music of the Highest Class; Horowitz, Classical Music in America. Successful efforts to locate and rectify oversights include Locke and Barr, “Patronage”; Rodger, Champagne Charlie; Shadle, Orchestrating the Nation.
8 The impact of women entrepreneurs on nineteenth-century British theatre is examined in Bratten, The Making of the West End Stage; see also Ingalls, Unexceptional Women.
9 Recent contributions include Brewer, Singing Sedition; Coleman, Harnessing Harmony; Goodman, “Transatlantic Contrafacta”; Lohman, Hail Columbia!.
10 Musical blending between disparate communities is deftly examined in Roberts, Blackface Nation and Smith, The Creolization of American Culture.
11 Carmichael, The War for the Common Soldier, 100-31; Decker, Epistolary Practices, 4–6.
12 In addition to the topics addressed in this volume, a few areas of musical and historical research that seem ripe for a combined perspective include nostalgia, immigration, health science, and humanistic geography.
13 Editors, “Interdisciplinary History,” 5.
14 De Man, “The Rhetoric of Blindness: Jacque Derrida’s Reading of Rousseau,” in Blindness and Insight, 102–141; Kuhn, The Structure of Scientific Revolutions.
Additional information
Notes on contributors
James A. Davis
James A. Davis is SUNY Distinguished Professor of Musicology at the State University of New York in Fredonia, New York.