The most well-respected biography of John Philip Sousa, John Philip Sousa: American Phenomenon explores his life and work and traces his effects on the role of cultural arts in the United States. Sousa was a true musical genius who dedicated his life to raising the level of his country's music appreciation and improving its image abroad. This new edition retains all the wonderful images and information about the composer and conductor who had so much influence on musical tastes in our country. This text makes a great addition to any library, especially for Sousa fans and music educators, and is a must for every band director preparing Sousa scores for rehearsal.

This book examines the succession of events toward the potential standardization of the music for “The Star-Spangled Banner” from an initial letter to President Roosevelt in 1907 to the 1958 congressional hearings on the National Anthem, and the later work of the Swiss-Born American pianist, Rudolph Ganz. These events took place across five decades when a culture of public patriotism was especially pronounced for immigrant musicians. This book contextualizes the complementary experiences of a leading immigrant musician, Ganz, who successfully navigated the world of public patriotism while pursuing the realization of a standardized version. The materials are discussed through the lens of the performance practice. The legacy of standardization has not previously been examined. The response and actions of an immigrant, Ganz, in a culture of necessary patriotism for foreign-born artists shed important new light on this topic. It demonstrates the challenges, fears, and cultural expectations regarding the standardization of an important patriotic work.

John Philip Sousa's mature career as the indomitable leader of his own touring band is well known, but the years leading up to his emergence as a celebrity have escaped serious attention. In this revealing biography, Patrick Warfield explains how the March King came to be by documenting Sousa's early life and career. Covering the period 1854 to 1893, this study focuses on the community and training that created Sousa, exploring the musical life of late nineteenth-century Washington, D.C., and Philadelphia as a context for Sousa's development. Warfield examines Sousa's wide-ranging experience composing, conducting, and performing in the theater, opera house, concert hall, and salons, as well as his leadership of the United States Marine Band and the later Sousa Band, early twentieth-century America's most famous and successful ensemble. Sousa composed not only marches during this period but also parlor, minstrel, and art songs; parade, concert, and medley marches; schottisches, waltzes, and polkas; and incidental music, operettas, and descriptive pieces. Warfield's examination of Sousa's output reveals a versatile composer much broader in stylistic range than the bandmaster extraordinaire remembered as the March King. In particular, Making the March King demonstrates how Sousa used his theatrical training to create the character of the March King. The exuberant bandmaster who pleased audiences was both a skilled and charismatic conductor and a theatrical character whose past and very identity suggested drama, spectacle, and excitement. Sousa's success was also the result of perseverance and lessons learned from older colleagues on how to court, win, and keep an audience. Warfield presents the story of Sousa as a self-made business success, a gifted performer and composer who deftly capitalized on his talents to create one of the most entertaining, enduring figures in American music.

This book offers a comprehensive look at musical representations of native America from the pre colonial past through the American West and up to the present. The discussion covers a wide range of topics, from the ballets of Lully in the court of Louis XIV to popular ballads of the nineteenth century; from eighteenth-century British-American theater to the musical theater of Irving Berlin; from chamber music by Dvoˆrák to film music for Apaches in Hollywood Westerns. Michael Pisani demonstrates how European colonists and their descendants were fascinated by the idea of race and ethnicity in music, and he examines how music contributed to the complex process of cultural mediation. Pisani reveals how certain themes and metaphors changed over the centuries and shows how much of this “Indian music,” which was and continues to be largely imagined, alternately idealized and vilified the peoples of native America.