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1

New York. Historic flutes from private collections: André Mertens galleries for musical instruments, the Metropolitan Museum of Art, New York, July-August 1986. the Metropolitan Museum of Art, 1986.

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2

N.Y.). André Mertens Galleries for Musical Instruments Metropolitan Museum of Art (New York. Historic flutes from private collections: André Mertens Galleries for Musical Instruments, the Metropolitan Museum of Art, New York, July-August 1986. The Museum, 1986.

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3

Office, General Accounting. District of Columbia: National Museum of American Music. The Office, 2000.

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4

Office, General Accounting. District of Columbia: P.L. 94-142 compliance and management of Youth Services Administration : report to Congressional requesters. The Office, 1986.

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5

Office, General Accounting. District of Columbia: P.L. 94-142 compliance and management of Youth Services Administration : report to Congressional requesters. The Office, 1986.

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6

Office, General Accounting. District of Columbia: Information on the District's debt : report to congressional requesters. The Office, 1994.

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7

Office, General Accounting. District of Columbia: Status of the new convention center project : report to the Chairman, Subcommittee on the District of Columbia, Committee on Government Reform, House of Representatives. The Office, 2000.

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8

Office, General Accounting. District of Columbia: Status of the new Convention Center Project : report to the chairman, Subcommittee on the District of Columbia, Committee on Government Reform and Oversight, House of Representatives. The Office, 1998.

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9

Office, General Accounting. District of Columbia: The District has not adequately planned for and managed its new personnel and payroll system : report to the Chairman of the Subcommittee on the District of Columbia, Committee on Appropriations, House of Representatives. The Office, 1999.

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10

Office, General Accounting. District of Columbia: Software acquisition processes for a new financial management system : report to the Chairman, Subcommittee on the District of Columbia, Committee on Appropriations, House of Representatives. The Office, 1998.

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11

Office, General Accounting. District of Columbia: P.L. 94-142 compliance and management of Youth Services Administration : report to Congressional requesters. The Office, 1986.

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12

Office, General Accounting. District of Columbia: Issues related to the Youngstown Prison report and Lorton closure process : report to the Honorable Thomas M. Davis III Chairman, Subcommittee on the District of Columbia, House Committee on Government Reform, House of Representatives. GAO, 2000.

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13

Office, General Accounting. District of Columbia: Structural imbalance and management issues : testimony before the Subcommittee on the District of Columbia, Committee on Appropriations, U.S. Senate. GAO, 2003.

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14

Office, General Accounting. District of Columbia: Authority needs to improve its procurement practices : report to Congressional requesters. The Office, 1999.

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15

Office, General Accounting. District of Columbia: P.L. 94-142 compliance and management of Youth Services Administration : report to Congressional requesters. The Office, 1986.

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16

United States. Congress. House. Committee on Government Reform and Oversight. Subcommittee on the District of Columbia., ed. District of Columbia: Extent to which schools receive available federal education grants : report to the Chairman, Subcommittee on the District of Columbia, Committee on Government Reform and Oversight, House of Representatives. The Office, 1998.

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17

Office, General Accounting. District of Columbia: The District has not adequately planned for and managed its new personnel and payroll system : report to the Chairman of the Subcommittee on the District of Columbia, Committee on Appropriations, House of Representatives. The Office, 1999.

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18

Office, General Accounting. District of Columbia: Extent to which schools receive available federal education grants : report to the Chairman, Subcommittee on the District of Columbia, Committee on Government Reform and Oversight, House of Representatives. The Office, 1998.

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19

Office, General Accounting. District of Columbia: Performance report reflects progress and opportunities for improvement : report to congressional subcommittees. The Office, 2002.

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20

Office, General Accounting. District of Columbia: Management issues concerning two District leases : report to the Chairman, Subcommittee on the District of Columbia, Committee on Appropriations, House of Representatives. The Office, 2000.

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21

Office, General Accounting. District of Columbia: Taxes and other strategies to reduce alcohol abuse : report to Congressional committees. The Office, 1998.

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22

Office, General Accounting. District of Columbia: Information on health care costs : report to Congressional requesters. The Office, 1996.

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23

Office, General Accounting. District of Columbia: Comments on fiscal year 2000 performance report : report to congressional subcommittees. U.S. General Accounting Office, 2001.

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24

Office, General Accounting. District of Columbia: Barriers to Medicaid enrollment contribute to hospital uncompensated care : report to the Committee on the District of Columbia, House of Representatives. The Office, 1992.

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25

Office, General Accounting. District of Columbia: Reporting requirements enacted by Congress : report to the ranking minority member, Subcommittee on the District of Columbia, Committee on Government Reform, House of Representatives. U.S. General Accounting Office, 2001.

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26

Office, General Accounting. District of Columbia: P.L. 94-142 compliance and management of Youth Services Administration : report to Congressional requesters. The Office, 1986.

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27

Office, General Accounting. District of Columbia: P.L. 94-142 compliance and management of Youth Services Administration : report to Congressional requesters. The Office, 1986.

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28

Series, Michigan Historical Reprint. Proceedings of the National railway convention, at the Musical fund hall, Philadelphia, Pa. July 4th & 5th, 1866. Scholarly Publishing Office, University of Michigan Library, 2005.

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29

Snelson, John M. ‘Ordinary People’ and British Musicals of the Post-War Decade. Edited by Robert Gordon and Olaf Jubin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199988747.013.9.

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British musicals in the decade after the Second World War reflect the broader questioning of national identity by society, shown in a shift from Labour social inclusion to Conservative reassertion of social conformity. Shows by Ivor Novello (Gay’s the Word), George Posford and Eric Maschwitz (Zip Goes a Million), Vivian Ellis and A. P. Herbert (Bless the Bride, The Water Gypsies), Sandy Wilson (The Boy Friend, The Buccaneer), and Julian Slade and Dorothy Reynolds (Salad Days) illustrate the shifting national perspective. They draw on such elements as flagging national spirit during post-war re
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30

Burford, Mark. Family Affairs, Part II. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190634902.003.0003.

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In Chicago, the resourceful Jackson established a livelihood on the South Side, initiated a lifelong involvement in political causes, and generated local buzz as a church singer. In the 1930s and 1940s, she also furthered her career through the pioneering Chicago organizers who founded the National Convention of Gospel Choirs and Choruses (NCGCC) and through the National Baptist Convention (NBC), the largest aggregation of black Christians in the United States. Founded by gospel songwriter Thomas A. Dorsey along with Magnolia Lewis Butts and Theodore Frye, the NCGCC set up the infrastructure f
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31

Wolf, Stacy. Beyond Broadway. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190639525.001.0001.

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As a ubiquitous national performance form, musical theatre—an utterly American, unapologetically commercial, earnestly popular, middlebrow genre of art and entertainment—has astonishing staying power. Local productions cross economic, racial, and geographic divides, assuming the status of a national folk practice. Shows are handed down across generations, remarkable in a country with so few common cultural experiences. Artists and audiences learn the Broadway canon, absorb the musical’s conventions, and have a lot of fun in the process. “Broadway,” as a globally recognizable brand, maintains i
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32

Dibben, Nicola. Music and Environmentalism in Iceland. Edited by Fabian Holt and Antti-Ville Kärjä. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190603908.013.9.

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This chapter is a scholarly response to environmental degradation in Iceland. In recognizing the scope of the crisis, the chapter questions conventional wisdom in musical geography and offers a new vision for music’s potential in transnational futures. The chapter offers an argument for eco-cosmopolitanism as an alternative to place-centered approaches to the analysis of contemporary spatial experiences, suggesting that recorded music might help people see themselves as part of a global biosphere. The analysis includes a discussion of musical activism in response to the Kárahnjúkar Hydropower
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33

Edition de musique: Conventions collectives nationales. 3rd ed. J.O., 1989.

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34

Burford, Mark. Mahalia Jackson and the Black Gospel Field. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190634902.001.0001.

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Drawing on and piecing together a trove of previously unexamined sources, this book is the first critical study of the renowned African American gospel singer Mahalia Jackson (1911–1972). Beginning with the history of Jackson’s family on a remote cotton plantation in the Central Louisiana parish of Pointe Coupée, the book follows their relocation to New Orleans, where Jackson was born, and Jackson’s own migration to Chicago during the Great Depression. The principal focus is her career in the decade following World War II, during which Jackson, building upon the groundwork of seminal Chicago g
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35

Sharkey, Rodney. Bowie, Beckett, and Being. Bloomsbury Publishing Inc, 2024. http://dx.doi.org/10.5040/9781501391279.

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Addressing their shared passion for literature, art, and music, this book documents how Samuel Beckett and David Bowie produce extraordinarily empathetic creative outputs that reflect the experience and the effect of alienation. Through an exploration of their artistic practices, the study also illustrates how both artists articulate shared forms of human experience otherwise silenced by normative modes of representation. To liberate these experiences, Bowie and Beckett create alternative theatrical, musical, and philosophical spaces, which help frame the power relations of the psychological,
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36

Marovich, Robert M. “Someday, Somewhere”. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039102.003.0005.

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This chapter examines the roles played by Thomas A. Dorsey, Mahalia Jackson, Sallie Martin, Theodore R. Frye, and Magnolia Lewis Butts in the development of gospel music in Chicago. During the late 1920s and early 1930s, Dorsey, Jackson, Martin, Frye, and Butts formed an informal nexus that spread the new gospel songs and gospel music style throughout Chicago and, ultimately, across the country. Dorsey was a versatile pianist, composer, arranger, singer, and bandleader who helped incorporate jazz and blues styles into gospel. He met Jackson around 1928 and offered her to demonstrate his songs.
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37

Schulz, Dorothea E. Culture and Customs of Mali. ABC-CLIO, LLC, 2012. http://dx.doi.org/10.5040/9798400635564.

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Touching on everything from its rich musical heritage to its varied cultural traditions, this is a thorough and accessible introduction to the contemporary lives of the different peoples who call Mali their home. Rated among the world's ten poorest nations, Mali has a glorious past and a less-certain present. Culture and Customs of Mali touches on the first as background for understanding the second, exploring multiple facets of contemporary social life and cultural practices in this landlocked, West African nation. The book offers an overview of diverse aspects of everyday social, cultural, a
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38

Marovich, Robert M. Across This Land and Country. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039102.003.0007.

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This chapter discusses the emergence of a new era in gospel music during the period 1933–1939, as evidenced by the proliferation of new gospel songs. It first examines the growth of the National Convention of Gospel Choirs and Choruses and its presentation of music to promote racial pride and assimilation into the African American church community. It then considers the rise of religious radio in the early gospel era, focusing on the creation of radio shows that featured gospel choruses outside the worship service. It also looks at the American Decca Records Company and its religious recording
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39

Norton, Barley. Music and Censorship in Vietnam since 1954. Edited by Patricia Hall. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199733163.013.29.

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This chapter traces the history of music censorship in Vietnam since 1954 with reference to a broad range of music genres. It discusses music censorship from 1954 to 1975, when Vietnam was divided into North and South. The tight ideological control established by the Vietnamese Communist Party in the North is compared with music movements linked to antiwar protests in the South. The chapter then examines the period of severe censorship following the end of the Vietnamese-American war in 1975 and considers how the cultural climate changed in the reform era after 1986. It highlights the limits o
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40

District of Columbia: National Museum of American Music. The Office, 2000.

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41

District of Columbia: National Museum of American Music. The Office, 2000.

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42

District of Columbia: National Museum of American Music. The Office, 2001.

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43

Marovich, Robert M. “Move On Up a Little Higher”. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039102.003.0011.

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This chapter focuses on the explosion of gospel music recording in Chicago during the 1940s. One of the first Chicago gospel singers to record for an indie label in the immediate postwar period was Brother John Sellers. Meanwhile, his mentor, Mahalia Jackson, recorded the song “Move on Up a Little Higher,” for Apollo Records. This chapter examines some of the recordings made by Chicago gospel artists for Apollo Records, including the Roberta Martin Singers' “Old Ship of Zion,” as well as those by independent Chicago-based record companies like Hy-Tone Records. It also discusses the recordings
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44

Einarson, John. From Born to Be Wild to Dazed and Confused. Rowman & Littlefield, 2025. https://doi.org/10.5040/9798881843656.

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Emerging from a period of protest and social unrest, 1968 was the year that ushered in gut-punching sounds that would define classic and hard rock—the formation of bands like Led Zeppelin and Black Sabbath rolled away the light sounds of psychedelic music and Flower Power. Celebrated music journalist & author John Einarson provides the first detailed account of this crucial period. Einarson begins by examining the birth of psychedelic music and experimentation beginning in 1965 and the resultant Summer of Love, showing how The Who and The Jimi Hendrix Experience planted the seeds for the h
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45

Townsend, Sylvia. Bumpy Road. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496804143.001.0001.

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In meticulous detail, the book describes the filming, release, and influence of the 1971 film Two-Lane Blacktop. In 1970 the urbane producer Michael Laughlin asked the hippy filmmaker Monte Hellman to direct a script called Two-Lane Blacktop. The cult author Rudy Wurlitzer rewrote the script, the story of two scruffy hot rodders who pick up a girl hitchhiker and race their classic ’55 Chevy against a rich guy’s “factory –made hot rod,” a ’70 GTO Judge. In three of the four lead roles Hellman cast nonactors – the rock stars James Taylor and Dennis Wilson, and the director’s girlfriend, Laurie B
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46

Pollock, Emily Richmond. Opera After the Zero Hour. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190063733.001.0001.

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Opera after the Zero Hour argues that newly composed opera in West Germany after World War II was a site for the renegotiation of musical traditions during an era in which tradition had become politically fraught. The idea of the “Zero Hour,” which put a rhetorical caesura between National Socialism and postwar occupied and divided Germany, was belied by significant continuities with earlier periods and by repeated efforts at conservative restoration. Opera’s social, aesthetic, and political value systems made it an essential piece of this cultural ethos. Its conservatism was creative and mult
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47

Whittaker, Jason. Jerusalem. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780192845870.001.0001.

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In the century since Parry set it to music, ‘Jerusalem’ has become emblematic of a conventional view of Englishness as a rural vision of a green and pleasant land. Yet when William Blake wrote the stanzas to his Preface to Milton, he had recently been tried for sedition and even Parry, having composed his music during the First World War, was appalled by the jingoism and nationalism of those who had commissioned him, instead giving the copyright to the suffragettes. Over the following century the hymn has been used by conservatives nostalgic for a lost empire and radicals committed to a social
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48

District of Columbia: Status of Convention Center Project : report to the Chairman, Committee on the District of Columbia, House of Representatives. The Office, 1994.

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49

District of Columbia: Status of the sports arena : report to the Chairman, Subcommittee on the District of Columbia, Committee on Government Reform and Oversight, House of Representatives. The Office, 1997.

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50

District of Columbia: Extent to which schools receive available federal education grants : report to the Chairman, Subcommittee on the District of Columbia, Committee on Government Reform and Oversight, House of Representatives. The Office, 1998.

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