A28 INDEX
Haydn, Franz Joseph, 77, 107, 325
oratorios of, 118
orchestral works of, 41, 119, 120
Hayes, Isaac, 479
Hayes, Roland, 327
Hays, Lee, 358, 431, 432, 433
Hays, Will S., 159
HBO (Home Box Offi ce), 505
head (melody), 379, 397
“head arrangements,” 377
Headhunters, 483
Health and Happiness Show (radio
show), 419
Heap, Imogen, 540
“Heartbreak Hotel,” 430, 457
“Heart of Oak” (patriotic song), 46
heav y metal, 506–7, 538
heckelphone, in Rhapsody in Blue, 319
Heifetz, Jascha, 307, 363
Heinrich, Anthony Philip, 18c, 121, 124,
185, 195
Heiress, The (fi lm), 367, 368
Helene Schottische (Dignam), 116, 117
Hell among the Yearlings (Welch), 540
“Hellfi ghters” Fifteenth Infantry
Band, 252
“Hello, Dolly,” 441
“Hello Young Lovers” (Rodgers and
Hammerstein), 372
Helmrich, Dennis, 200
Help! (fi lm), 504
Henderson, Fletcher, 294, 298,
375, 532
Henderson, W. J., 322
Hendrix, Jimi, 469, 482, 497, 506
“He Never Said a Mumblin’ Word”
(spiritual), 227
Henry V III, king of England, 25
Hentoff, Nat, 405
Herbert, Victor, 233–34
Herbst, Johannes, 41
Herder, Johann Gottfried von, 205
Herman, Pee Wee, 501
Herman, Woody, 389
Hermann, Bernard, 499–501
heroin, 399
“heterogeneous sound ideal,” 94
heterophony, 92
Heth, Charlotte, 516
Heumann, Matthew, 138
Hewitt, John Hill, 147
“Hey, Good-Lookin’” (Williams), 419
Hey ward, Dubose, 323
Hiawatha (Longfellow). See Song of
Hiawatha, The
Higdon, Jennifer, 552
“high concept” fi lm, 501
“high lonesome sound,” 343
High Noon (fi lm), 363
hi-hat cymbals, 378
Hilaire, Andrew, 292
Hill, Lauryn, 544
Hill, William, 448
hillbilly records, 263–67, 344; see also
country musicHindemith, Paul, 306, 389
Hines, Earl, 295, 296, 397, 531
hip-hop, 508–13, 542–46
historiography; see also scholarship,
music
changing views in, 390
of jazz, 396, 532–33, 535
spheres of American music
making, 291, 431
Hitchcock, A lfred, 499
Hodges, Johnny, 299, 300
Hogan, Ernest, 163c, 244
Holiday, Billie, 330, 377, 381–84, 382 ,
482, 497, 543
Holidays Symphony (Ives), 50
Hol l y, B udd y, 474, 475
Holly wood, California, 318,
361–71
Holocaust, 388, 553
“Holy City, The,” 301
home, concept of, 60–61, 145, 221–22,
226–27, 236, 279, 355
“Home, Sweet Home” (Bishop), 60–61,
80, 111, 145, 147, 221, 226
Home Box Offi ce (HBO), 505
home music making
colonial period, 50–53
nineteenth century, 106–11,
146–47, 181
psalmody, 33
twentieth century, 181
as women’s activity, 146–47
Home of the Brave (fi lm), 499
“Home on the Range,” 221–22, 344
home taping, 502
homophonic singing, 26–27
homosexuality, 479
“Honeysuckle Rose” (Waller), 397
honky-tonk music, 418–20, 458
honor beats, 517, 518
“Hoochie Coochie Man” (Waters), 421
Hopkins, John, 26, 28
Hopkinson, Francis, 39, 53
Hopkinson, Joseph, 55
Horowitz, Vladimir, 307
Hot Chocolates (revue), 294
Hot Five, 254c, 294–96, 295 , 441
Hot Seven, 254c, 294–95, 441
“Hound Dog” (Lieber and Stoller), 452
“Housatonic at Stockbridge” (Ives),
197–98
House, Son, 333
Houston, Cisco, 350
Houston Grand Opera, 323, 498
Howard University, 227
Howard University Chamber Choir, 229
Howe, Julia Ward, 157
Howl (Ginsburg), 435
Howlin’ Wolf (Chester Burnett), 421
“How Much Is That Doggie in the
Window?” (Page), 413–14
Hughes, Langston, 328
Hughes, Nan, 314
Hunt, Marion Palmer, 247, 249
Hunter, Alberta, 261“Hurt” (Reznor), 537
Hurt, Mississippi John, 270
Hüsker Dü, 508
Hustlers Convention (LP), 510
Hutchinson, Jesse, Jr., 153
Hutchinson family, 19c, 151–56,
152 , 153
hymnody; see also psalmody
African American, 92
Bradbury’s contributions to, 83
and California missions, 22
camp-meeting, 103–4, 198
folk hymns, 70–72, 286
German, 39–42
gospel, 173–74, 338
Ives’s interpretations of, 197–201
lining-out, 29
Mason’s contributions, 81
Northern revival, 80–82
Southern, 69–74, 416
Hymns and Fuguing Tunes (Cowell), 286
Hyperprism (Varèse), 281–82Ice-T, 543
I-Ching, 395
Ich will dir ein Freudenopfer thun (Peter),
41–42
Ickes, Harold, 329
identity issues; see also individualism,
concept of
women, 538–39
ideolog y
in blackface minstrelsy, 144
Civil War, 156–60
edifi cation and, 68
folk song and, 351–59
nationalism and, 126, 193,
195–96
women’s movement, 538
“I Didn’t Hear Nobody Pray” (Dixon
Brothers), 343
idiophones. See percussion; specifi c
instruments
“If I Had a Hammer,” 432, 433
“If I Loved You” (Rodgers and
Hammerstein), 372
“If You Don’t Want My Peaches (You’d
Better Stop Shaking My
Tree)” (Berlin), 246
“If You Leave,” 501
“If You See My Savior” (Dorsey),
254 c, 338
“I Got Plenty o’ Nuttin’” (Gershwin),
323
“I Got Rhythm” (Gershwin), 318, 379,
380, 397
“I Hail from Cairo” (Romberg), 236
“I have a dream” speech (King), 439
“I Heard It through the Grapevine”
(Whitfi eld and Strong),
464–66
“I’ll Take You Home Again, Kathleen”
(Westendorf), 151
illuminated manuscripts, 40
Imaginary Landscape No. 1 (Cage), 393172028_99c_A16-A46_IND_r2_sd.indd A28 23/01/13 11:23 AM