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Simple Shaker Folk: Appropriation, American Identity, and Appalachian Spring

Simple Shaker Folk: Appropriation, American Identity, and Appalachian Spring DAViD VANDerHAmm Simple Shaker Folk: Appropriation, American i dentity, and Appalachian Spring For a piece that was “born a celebrity,” as one critic put it, Appalachian Spring received little of the press attention that we might expect to pre- cede such an auspicious birth. there are many reasons for this, the first of which is that there was no need for the commissioning elizabeth Sprague Coolidge Foundation to push for publicity. the Coolidge Cham- ber music Festival, where the work would be presented on october 30, 1944, was in its tenth successful year, and tickets for the 511- seat Coolidge Auditorium at the library of Congress were spoken for long before the performance. Additionally, the work was still in flux and without its final title until shortly before its premiere, making advance discussion of it difficult even for martha Graham or Aaron Copland. thus the only details to emerge prior to its premiere came from dance critic John mar- tin, who reported on october 8: “rumor has it that the [ballet] for which Copland has written the music deals with the Shakers.” martin would have been in good company in maintaining this belief, considering that David VanderHamm is a http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png American Music University of Illinois Press

Simple Shaker Folk: Appropriation, American Identity, and Appalachian Spring

American Music , Volume 36 (4) – Feb 4, 2019

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Publisher
University of Illinois Press
ISSN
1945-2349

Abstract

DAViD VANDerHAmm Simple Shaker Folk: Appropriation, American i dentity, and Appalachian Spring For a piece that was “born a celebrity,” as one critic put it, Appalachian Spring received little of the press attention that we might expect to pre- cede such an auspicious birth. there are many reasons for this, the first of which is that there was no need for the commissioning elizabeth Sprague Coolidge Foundation to push for publicity. the Coolidge Cham- ber music Festival, where the work would be presented on october 30, 1944, was in its tenth successful year, and tickets for the 511- seat Coolidge Auditorium at the library of Congress were spoken for long before the performance. Additionally, the work was still in flux and without its final title until shortly before its premiere, making advance discussion of it difficult even for martha Graham or Aaron Copland. thus the only details to emerge prior to its premiere came from dance critic John mar- tin, who reported on october 8: “rumor has it that the [ballet] for which Copland has written the music deals with the Shakers.” martin would have been in good company in maintaining this belief, considering that David VanderHamm is a

Journal

American MusicUniversity of Illinois Press

Published: Feb 4, 2019

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