CHAPTER 5 | FURTHER LISTENING 131
- W hat features of The Banjo are typical of classical music, and which are atypi-
cal? Generalizing from there, how were Gottschalk’s attitudes typical of a
classical musician’s, and how were they atypical? - Discuss the merits and weaknesses of Fry’s and Bristow’s arguments in favor
of American-made music. Do such arguments still need to be made today,
and why or why not?
FURTHER READING
Ahlquist, Karen. Democracy at the Opera: Music, Theater and Culture in New York City, 1815– 60.
Urbana: University of Illinois Press, 1997.
Broyles, Michael. “Music of the Highest Class”: Elitism and Populism in Antebellum Boston. New
Haven, CT: Yale University Press, 1992.
Crawford, Richard. The American Musical Landscape. Berkeley and Los Angeles: University
of California Press, 1993.
Martin, George Whitney. Verdi at the Golden Gate: Opera and San Francisco in the Gold Rush
Yea rs. Berkeley and Los Angeles: University of California Press, 1993.
Newman, Nancy. Good Music for a Free People: The Germania Musical Society in Nineteenth-
Century America. Rochester, N Y: University of Rochester Press, 2010.
Preston, Katherine K. Opera on the Road: Traveling Opera Troupes in the United States, 1825– 60.
Urbana: University of Illinois Press, 2001.
Starr, S. Frederick. Bamboula! The Life and Times of Louis Moreau Gottschalk. New York:
Oxford University Press, 1995.FURTHER LISTENING
Gottschalk, Louis Moreau. Symphonies Nos. 1 and 2; Escenas Campestres Cubanas; Célèbre
Ta ra nte l le. Hot Springs Festival Symphony Orchestra; Richard Rosenberg, conductor.
Naxos American Classics, 2007.
The Yankee Brass Band: Music from Mid-Nineteenth-Century America. The American Brass
Quintet Brass Band. New World Records, 1981.172028_05_106-131_r3_ko.indd 131 23/01/13 8:21 PM