Thoroughly grounded in primary source research, including meticulous work with the Composers' Forum archive. Provides a case study of many intersecting strands of U.S. cultural and political life. . . . [De Graaf's] work offers a model for scholarship and teaching that probes into systems of privilege and oppression [and] invites scholars and teachers to construct courses exploring various musical ... Read morestyles from the classical, folk and popular traditions and the connected social issues that will resonate with and inspire the people we teach to take action.
JOURNAL OF THE SOCIETY FOR AMERICAN MUSIC
An unusually engaging and stimulating account. . . . The abundant issues she raises intersect with some of the most elusive, yet central topics to have shaped modern music, . . . namely race, politics, nationalism, gender, and sexuality. Brings much previously untouched archival evidence to light, with unprecedented emphasis on the Forum's audiences as they confronted a challenging range of contemporary music. A 'who's who' of twentieth-century American music, with Roy Harris, Charles Ives, Otto Luening, Walter Piston, Randall Thompson, and Virgil Thomson among the many prominent participants. Highly readable, critically apt, and well documented. That nearly every chapter has music examples must be commended, along with the author's apposite observations about scores. By helping to focus the dissonance and din of that unusually fervent decade [the 1930s] during the great creative ferment of its latter half, Melissa J. de Graaf provides exemplary service.
Daniel E. Mathers
MUSIC & LETTERS
De Graaf analyzes the spectrum of modern music styles and the audiences/ reactions to them. . . . A stimulating array of related topics such as gendered reception of modern music, the melting pot of American musical identity, and the search for authenticity in voice.
MIDWEST BOOK REVIEW
A lively and engaging presentation of the urban American 'new music' scene during the late 1930s. De Graaf's book provides a fascinating examination of New Yorkers' musical opinions
both enthusiastic and hostile
in copious and vivid detail. This is a superb study of the genuinely diverse character of 'modern' musical life in 1930s New York, which deserves to be widely read.
Thomas L. Riis, Director, American Music Research Center, University of Colorado, Boulder
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