INDEX A29
Imaginary Landscape No. 5 (Cage),
392, 393
“I’m a Lonesome Fugitive” (Anderson
and Anderson), 458
“I’m Falling in Love with Someone”
(Herbert), 234
immigration, 246, 309, 313, 495; see
also ethnicity; specifi c peoples
of European musicians, 18c
and fi lm scoring, 363
to New York, 177
of professional musicians, 45,
55–56, 126, 183, 389
impresarios, 113, 130, 142, 390; see also
managers
improvisation
in bebop, 396
blues and, 256
collective, 287–89
in concert music, 449
in jazz, 295–96, 379, 380, 409, 535
melodic vs. harmonic, 291
in swing, 376
“I’m So Lonesome I Could Cry”
(Williams), 419
“I’m Your Pusher” (Mayfi eld), 543
In a Silent Way (Davis), 482, 483
In C (Riley), 446, 449–50
In Cold Blood (fi lm), 500
“In Crowd, The,” 441
In Dahomey (Cook), 163c, 238
indeterminacy, 395, 449–50
Indiana Jones (fi lm series), 500
Indian Citizenship Act (1924), 207
Indian music, American. See Native
American music
Indian Removal Act (1830), 206
Indian Reorganization Act (1934), 207
Indian Territory, 515
indie (independent) labels, 421,
423, 508
indie rock, 506, 508
individualism, concept of, 278–79
Indonesia, 491
industrialization, 172, 173, 218
industrial rock, 537
Ingalls, Jeremiah, 71–72
Innervisions (Wonder), 478
Innocent Sounds (hymn tune), 71–72
Institute of Musical Art (New York
City), 281
instrumental music; see also specifi c
instruments, ensembles, and
genres
colonial period, 21, 39–41, 50–53
early African American, 98–100, 99
eighteenth century, 52–58
instrument making, 107, 146, 172; see
also piano
Intégrales (Varèse), 282
integrated musical, 372, 373
intellectual property, 359
interlocutor, 142
International Composers’ Guild,
281, 308“International Money Musk
Moment,” 50
Internet
competition for music from, 555
fi le sharing on, 546–47
interpolations, 235
intertribalism. See pantribalism
intertribal pow wow, 515–18
“In the Mood” (Miller), 378
In This House, on This Morning
(Marsalis), 533–35
intonation, 211
“Into the Streets May First”
(Copland), 317
Into the Woods (Sondheim), 487
Introduction to the Singing of Psalm Tunes,
An (Tufts), 31
inversion, 199, 492
Ionisation (Varèse), 282
Iowa, 297
“Irishman’s Epistle to the Offi -
cers and Troops at Boston”
(broadside ballad), 47
Irish people, 134, 165–66, 181
“Irish Washerwoman” (traditional
tune), 47, 49
Iron Butterfl y, 5 0 6
Irving Berlin Music, Inc., 245
Irving Hall (New York), 183
Irwin, May, 244
Islam, 101, 445
Isle of Wight rock festival, 482
“Isn’t This a Lovely Day?” (Berlin), 365
Israel in Eg ypt (Handel), 118
“It Ain’t Me, Babe” (Dylan), 439
“It Ain’t Necessarily So” (Gershwin), 323
“It’s Mighty Dark to Travel” (Monroe),
416–18
iTunes, 387c, 547
“It Wasn’t God W ho Made Honky Tonk
Angels” (Miller), 419
Ives, Charles E., 128, 196 , 196–203, 202 ,
280–83, 391, 393, 491
beliefs of, 201, 204
description of camp-meeting
singing, 198
on the future of music, 203
instrumental works of, 50, 201,
203, 286, 307, 446
on music vs. sound, 199
songs of, 197–201
Ives, George Edward, 196, 197 , 199
“I Wanna Be Sedated” (Ramones), 473
“I Want to Be a Cowboy’s Sweetheart”
(Montana), 345
“I Want to Hear a Yankee Doodle
Tune” (Cohan), 232Jackson, Benjamin Clarence “Bull
Moose,” 424
Jackson, George Pullen, 69, 74
Jackson, Mahalia, 339
Jackson, Michael, 485, 505, 506
Jackson, Rudy, 302
Jackson Five, the, 464, 478Jacobs, Jacob, 528
Jacobs, Little Walter, 421
Jamaica, 510
“Jambalaya” (Williams), 419
jam bands, 538
Jamerson, James, 463
James, Etta, 421
James, Henry, 367
James, Skip, 333
Janissary instruments, 115
Jarrett, Keith, 483
Jason and the Argonauts (fi lm), 499
Jaws (fi lm), 500
Jay-Z, 544, 548
jazz, 254c, 255c, 410; see also bebop;
swing
big-band, 298, 376–80, 397
blues and, 535
Chicago scene, 290, 294–98
collaboration in, 300–301, 303,
377–79
concert works, 318–23, 328–30
drugs and, 397
early, 286–303
in fi lm scores, 500
improvisation in, 295–96, 409
infl uence on minimalist
composers, 449, 450
infl uence on Rochberg, 447
infl uence on rock, 468
New Orleans ensemble
instrumentation, 409–10
in 1940s–50s, 396–406
in 1960s, 441–45
in 1990s–2000s, 531–36
opposition to, 290
patronage of, 533
popular song arrangements,
414–15
racism and, 535
repertory ensembles, 533
in Rhapsody in Blue, 322
styles of, 396, 532, 535
vocals, 381–84
white performers of, 289, 294,
297–98, 376–78
writers on, 396, 412
“Jazz: America’s Classical Music”
(Taylor), 532
Jazz at Lincoln Center, 533
Jazz at Lincoln Center Orchestra,
387 c, 532
Jazz Messengers, 402
jazz repertory movement, 532
jazz-rock fusion, 482–85
Jazz Singer, The (fi lm), 235, 362
“Jeanie with the Light Brown Hair”
(Foster), 148 , 148–50, 367
Jefferson, Lemon Henry “Blind
Lemon,” 332–33, 355
Jefferson, Thomas, 51–52, 121
Jenkins, Gordon, 431
Jennings, Waylon, 474–75
Jerome M. Remick & Company, 176
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