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American Music   Winter 2010© 2010 by the Board of Trustees of the University of Illinois Index To Volume 28 Compiled by Jim Farrington Personal names are identified as author of composer a, compiler c, editor e, performer p, reviewer r, or subject s. Subject entries (e.g., Jazz) are interfiled. Titles of American Music articles are in quotation marks; titles of books, recordings, and websites are italicized. Sound recordings are differentiated by the abbreviation rec, videos by v, and websites by w. Adams, John, a. Complete Piano Music, rec (Alexander Sanchez-Behar, r), 3:393–95 “The ‘Adventures and Battles’ of Vladimir Dukelsky (a.k.a. Vernon Duke),” (Holden, a) 3:297–319 “Alto on a Broomstick: Voicing the Witch in the Musical Wicked,” (Boyd, a) 1:97–118 Ampadu, Lena, r 1:133–35 Bolcom, William, s 2:173–90 Boulton, Kenneth, p. Louisiana: A Pianist’s Journey, rec (Schorr, r) 4:517–20 Boutwell, Brett, r 4:514–16 Boyd, Michelle, a. “Alto on a Broomstick : Voicing the Witch in the Musical Wicked,” 1:97–118 Brackett, John, a. “Some Notes on John Zorn’s Cobra.” 1:44–75; John Zorn: Tradition and Transgression (Boutwell, r) 4:514–16 A Brief History of Rock, Off the Record (Robins , a; Perry, r), 1:132–33 Burk, James Mack, a. A Charles Ives Omnibus (Owens, r), 3:385–86 “Cage and the Ultramo‑dernists,” (Nicholls , a) 4:492–500 Cage, John, s 2:211–27; 4:492–500; 4:504–07 California E.A.R. Unit, p 1:136–39 “Chaplin and the Sandblaster: Edmund Wilson’s Avant-Garde Noise Abatement ,” (Paulin, a) 3:265–96 A Charles Ives Omnibus (Burk, a; Owens, r), 3:385–86 Christensen, Beth, r 3:383–84 Civil War music 2:141–72 Cizmic, Maria, a. “Embodied Experimentalism and Henry Cowell’s The Banshee ,” 4:436–58 Cohen, John, s 4:402–35 “Co-Opting Christian Chorales: The Songs of the Ku Klux Klan,” (Jacobs, a) 3:368–77 Cowell, Henry, s 4:436–58 Creolizing Contradance in the Caribbean (Manuel, e; Miller, r) 4:501–04 Davis, James, a. “Music and Gallantry in Combat During the American Civil War,” 2:141–72 Densmore, Frances, s 2:190–210 DeVoto, Mark, a. “Historians’ Corner: Two Composers on American Music at Mid-Century: “Walter Piston in Conversation with Wilfrid Mellers, 1962,” 1:119–28 “Did He Ever Return?: The Forgotten Story of Charlie and the M.T.A.,” (Dreier and Vrabel, a) 1:3–43 Dinerstein, Joel, r 2:255–56 Dreier, Peter and Jim Vrabel, a. “Did He Ever Return?: The Forgotten Story of Charlie and the M.T.A.,” 1:3–43 Dukelsky, Vladimir, s 3:297–319; 3:320–45 Ed Palermo Big Band, p, Eddy Loves Frank (Lindeman, r) 2:260–63 Eddy Loves Frank (The Ed Palermo Big Band, p; Lindeman, r) 2:260–63 “Embodied Experimentalism and Henry Cowell’s The Banshee,” (Cizmic, a) 4:436–58 Eskew, Harry, s 2:251–55 Everett, William A., r 3:378–80 Feldman, Morton, a. For Christian Wolff, rec (Paccione, r), 1: 136–39 “Finding the Avant-Garde in the OldTime : John Cohen in the American Folk Revival,” (Jones, a) 4:402–35 “From the Editor,” (Hicks) 1:1–2 Gann, Kyle, a. “Reconstructing November,” 4:481–91; No Such Thing as Silence: John Cage’s 4’33”. (Joseph, r) 4:504–07 Goldschmitt, Kariann, r 3:386–88 Goldsmith, Melissa Ursula Dawn, r 1:129–32 Gospel Music, 1:133–35 Haskins, Rob, r 4:510–14 Hernandez, Deborah Pacini, a. Oye Como Va! Hybridity and Identity in Latino Popular Music (Goldschmitt, r), 3:386–88 Hicks, Michael, a. “From the Editor,” 1:1–2; “The Threshing Floor,” 4:397–401 Hirsch, Lily E., a. “‘Playing for Change’: Peace, Universality, and the Street Performer ,” 3:346–67 “Historians’ Corner: Two Composers on American Music at Mid-Century: Walter Piston in Conversation with Wilfrid Mellers, 1962, with an Introduction by Mark DeVoto,” 1:119–28 “Historians’ Corner: Co-Opting Christian Chorales: The Songs of the Ku Klux Klan,” (Jacobs, a) 3:368–77 “Historians’ Corner: Cage and the Ultramodernists ,” (Nicholls, a...

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Additional Information

ISSN
1945-2349
Print ISSN
0734-4392
Pages
pp. 521-523
Launched on MUSE
2010-11-24
Open Access
No
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