Richard I Crawford

Biographic Data

ID5137716
NAMERichard I Crawford
GIVEN NAMESRichard I
FAMILY NAMECrawford
SIGNATURECRAWFORD R I
AFFILIATIONSUniversity of Michigan
VERIFIEDNo
TOTAL WORKS17
TOTAL CITATIONS9
WORKS AS AUTHOR17
WORKS AS EDITOR0
FIRST PUBLICATION YEAR1973
LATEST PUBLICATION YEAR2006
H-INDEX2

  • Where Did Porgy and Bess Come From

    Richard Crawford, Richard I CrawfordARTICLEThe Journal of Interdisciplinary…2006Cited by: 1References: 3

    In 1924, Metropolitan Opera board chairman Otto Kahn proposed that the yet-to-be-written Great American Opera might well be a "jazz opera." Eleven years later, George Gershwin's engagement with Kahn's idea came to fruition in Porgy and Bess (1935), set to a libretto by DuBose Heyward, based on Heyward's novella Porgy (1925) and his play of the same name staged in 1927. Several months before Porgy was published, Gershwin had already decided that a…

  • Musa's Early Years

    Richard Crawford, Richard I CrawfordARTICLEAmerican Music2005

    Music of the United States of America (MUSA) signals the comingof-age of American studies within the field of musicology. That the American Musicological Society has undertaken a project of this kind, and that the National Endowment for the Humanities has funded it, testify that our nation's musical traditions, long overlooked or downplayed in the academy, are now recognized as worthy of serious research and study. The humanities' quickening inte…

  • America's Musical Life

    H Wiley Hitchcock, Richard Crawford et al.ARTICLEAmerican Music2003

  • Edward MacDowell

    Richard Crawford, Richard I CrawfordARTICLEJournal of the American…1996Cited by: 2References: 4

    After American-born, European-trained Edward MacDowell returned to the United States in 1888 and settled in Boston, he was welcomed as the composer American music had been awaiting. Enhanced by a professorship at Columbia University (1896-1904), his fame drew him into the current debate over musical nationalism. MacDowell relished the role of American composer, using national elements to approach artistic universality. "To a Wild Rose" for piano …

  • A Celebration of American Music

    Mark Devoto, Richard Crawford et al.ARTICLEAmerican Music1992

    Compositions, memoirs, and essays that celebrate the variety and vitality of American music

  • An American Music

    Richard Crawford, Richard I Crawford et al.ARTICLEAmerican Music1988

  • Response to Tim Rice

    Richard Crawford, Richard I CrawfordARTICLEEthnomusicology1987

    First, I'd like to say, as a historical musicologist nosing around the fringes of ethnomusicology, that I find very appealing the idea that the agenda of a whole field can be distilled into one comprehensible sentence. Rice has come up here with a kind of Swiss army knife of musicology. In effect, he has chosen those professional tools that are absolutely essential, reduced them to miniature form, and connected them in a smooth, thoroughly portab…

  • The Core Repertory of Early American Psalmody

    Nym Cooke, Richard Crawford et al.ARTICLEAmerican Music1986

  • On Two Traditions of Black Music Research

    Richard Crawford, Richard I CrawfordARTICLEBlack Music Research Journal1986Cited by: 5References: 3

    If we accept a simple dictionary definition of research as a diligent and systematic inquiry into a subject, then there is reason to place special value on black music research done by Afro-Americans themselves. Black American scholars who study black music can claim a share of common experience with the musicians they study. Both, after all, belong to an ethnic group that in the United States has diligently and systematically been singled out fo…

  • Musicology and the Australian bicentenary

    Richard Crawford, Richard I CrawfordARTICLEMusicology Australia1985Cited by: 1References: 1

    The musical world in which we live is shaped by composers, performers and listeners, and the role of scholars in it is a secondary one. We scholars are more observers than participants. Rather than shapers of the tradition, we are preservers and interpreters of it, though from time to time we carry on excavations that contribute to its public aspects. We try to be there when other musicians and listeners need us. And we are delighted when they ac…

  • Hallelujah, Amen! The Story of the Handel and Haydn Society of Boston

    Ezra Schabas, Hugh Johnson et al.ARTICLEAmerican Music1984

  • A Historian's Introduction to Early American Music

    Carleton Sprague Smith, Richard Crawford et al.ARTICLEAmerican Music1983

  • Musical Learning in Nineteenth-Century America

    Richard Crawford, Richard I CrawfordARTICLEAmerican Music1983

    American musical historiography has been dominated by two different perspectives. Nineteenthand twentieth-century writers, from Frederic Louis Ritter, Oscar Sonneck, and Louis Elson to John Tasker Howard and H. Earle Johnson, accepting music as a European-based art, have told history of music on American soil through tracing extension of European music-making, especially its art music, to New World. In their chronicles, beginning with seventeenth…

  • William Billings of Boston

    Hugo Norden, David P Mckay et al.ARTICLEThe New England Quarterly1976

  • William Billings of Boston

    Hugh Johnson, H Earle Johnson et al.ARTICLEThe William and Mary Quarterly1976

  • American Studies and American Musicology

    Adelaida Reyes Schramm, Richard Crawford et al.ARTICLEEthnomusicology1975

  • The Performance of William Billings' Music

    Open AccessRichard Crawford, Richard I Crawford et al.ARTICLEJournal of Research in Music…1973

    Peer Reviewed