Classic Chic: Music, Fashion, and Modernism

Acknowledgments

Acknowledgments This book was inspired by my mother, Dorothy Davis, who loved music, fashion, and all life’s pleasures.As a scholarly project, it began to take shape when I was a graduate student at Harvard University writing a dissertation on Erik Satie, which to my surprise revealed meaningful connections between composition and haute couture in the early twentieth century. As I have explored these intersections over the past decade, I have had the support of many individuals and a number of institutions, and I am delighted to acknowledge them here. My friends and colleagues have lent remarkable support, encouragement , and expertise to this endeavor. Georgia Cowart has been a careful and enthusiastic reader of my work for many years, and her knowledge of music and culture in ancien régime France proved especially helpful as I pursued this study. Christine Cano, John Kmetz, Jann Pasler,Andrew Shenton , and Steven Whiting all read sections of the manuscript and offered valuable comments; I am grateful for their suggestions and advice. I wish also to thank Reinhold Brinkmann, who helped me develop these ideas as my thesis advisor at Harvard, and Ornella Volta, President of the Fondation Satie in Paris, who nurtured my initial interest Satie’s connections to the Parisian elite. Colleagues at UCLA, The Ohio State University, and Boston University generously invited me to speak at their institutions, and I am grateful to students and faculty at those schools for their valuable feedback and encouragement . I am also indebted to staff at the Cleveland Museum of Art, for their guidance on art historical issues and for inviting me to present a lecture-recital based on my research. Staff at the Rock and Roll Hall of Fame and Museum also contributed ideas to the study; I am grateful in particular to Terry Stewart for his support. At Case, students in my graduate seminar on music and fashion in 2004 stimulated my thinking as this manuscript neared completion. Several excellent research assistants also participated in this project while pursuing graduate studies at Case; I am grateful to Francy Acosta, Adam Booth, Paul Cox, Sarah Tomasewski, and Matthew Weldon for their careful assistance. I wish also to thank Bill Milhoan and Josh Senick, who provided expert technical support. My initial research was generously supported by Harvard University, which provided me with an Eliot Fellowship and numerous Paine Traveling Fellowships, and by the American Musicological Society, which recognized my project with an AMS 50 Fellowship. At Case Western Reserve University I benefited from an appointment to the inaugural Robson Junior Professorship and have had the support of several W. P. Jones Presidential Fellowships as well as a GlennanTeaching Fellowship.In addition,a publication subvention from the American Musicological Society provided funding for many of the images included in the book. This project has taken me to many archives and libraries where staff members have offered guidance and assistance that proved invaluable. In Paris, I wish especially to thank the staff of the Bibliothèque Nationale de France, and particularly Catherine Massip and the personnel at the Département de la Musique; also those at the Bibliothèque de l’Arsenal, the Bibliothèque Doucet, the Musée de la Mode de la Ville de Paris, the Musée de la Mode et du Textile, and the Musée de la Musique. At Harvard University , I thank Tom Ford and other staff at the Houghton Library and the Harvard Theater Collection, as well as staff at the Fine Arts Library, the Loeb Music Library, and the Widener Library. At Case, Stephen Toombs and Jeffrey Quick in the Kulas Music Library provided steady help and friendly advice. I also benefited from the assistance offered by staff at the Library of Congress, the Georgetown University Library, and the Rare Book, Manuscript, and Special Collections Library at Duke University. I am especially grateful to Michael Stier and Gretchen Fensten at Condé Nast Publications, and to Kim Bible at Merrill David Photography in Cleveland, for their kind assistance with images for the book. I am deeply indebted to my editor, Mary Francis, who assisted in all phases of the preparation and publication of this book, and I wish to thank the three scholars to whom she sent it for review. I also wish to thank Kalicia Pivirotto, Ruth Steinberg, and Kate Warne at the University of California Press for the many improvements they made as the project came to fruition. Finally, a special debt is owed to...