{"id":3824,"date":"2019-09-17T09:36:09","date_gmt":"2019-09-17T14:36:09","guid":{"rendered":"https:\/\/pages.stolaf.edu\/americanmusic\/?p=3824"},"modified":"2019-09-17T09:36:27","modified_gmt":"2019-09-17T14:36:27","slug":"the-reception-of-edward-macdowell-throughout-the-20th-century","status":"publish","type":"post","link":"https:\/\/pages.stolaf.edu\/americanmusic\/2019\/09\/17\/the-reception-of-edward-macdowell-throughout-the-20th-century\/","title":{"rendered":"The Reception of Edward Macdowell Throughout The 20th Century"},"content":{"rendered":"

In our studies of Native American music, I have come across the name \u201cEdward Macdowell\u201d several times.\u00a0 Most recently in an article by Daniel Blim entitled \u201cMacdowell\u2019s Vanishing Indians.\u201d This peaked my interest in the composer to see what his general reception was amongst the musical community.\u00a0 Much of his music uses themes from Native Music that is fraught with problems in respect and appropriation (to modern listeners), as can be represented by the Blim article. There are two reviews of Macdowell that I will be exploring to do this, one from 1944 in the <\/span>Music Educators\u2019 Journal<\/span><\/i> and one from <\/span>American Music<\/span><\/i> in 1987<\/span>.\u00a0\u00a0<\/span><\/p>\n

The first review takes Macdowell\u2019s <\/span>Second \u201cIndian\u201d Suite<\/span><\/i> under fire as a piece for High School Orchestra.\u00a0 The full text is short and is reproduced below:<\/span><\/p>\n

\"\"<\/a><\/p>\n

The piece is lauded for its musical accessibility and distinct \u201cAmericanness\u201d and its ability to rekindle interest in Macdowell, who it describes as \u201cmuch neglected on our present day concert programs.\u201d\u00a0 The only acknowledgement of source material in this (very short) review are that the melodies are suggested by the North American Indians. The score can be found <\/span>here<\/span><\/a>, for reference to the melodies that it describes.\u00a0 Despite the short nature of this review, there are a few things we can safely extrapolate from it.\u00a0 The first surrounds the \u201cmuch neglected\u201d comment. This shows that Macdowell was not a key facet of many, if any, concert programs in 1944, just 36 years after his death.\u00a0 The reason for this is not specified, but it does go to show that the use of such Native American Melodies was not popular for composers to do, as Macdowell did with a number of pieces (he has at least two full Indian Suites as the title of the piece suggests).\u00a0 This could be for a number of reasons, among them being a general disdain for non-white-sounding music (possible, but severe speculation) or a loss of interest in the music of American Composers who weren\u2019t Aaron Copland (again, speculation).\u00a0\u00a0<\/span><\/p>\n

The second review is much longer, and is regarding a recording of several piano works by Macdowell.\u00a0 For our purposes, we can just look at the material regarding the piano work itself. The reviewer, Margaret Barela, found Macdowell to be compositionally important to the development of American Music, but not because he \u201clacked foreign influence.\u201d\u00a0 Barela likens Macdowell\u2019s music to that of Liszt and Chopin, although Chopin died before Macdowell was born and Liszt died when Macdowell was 26, so they were not contemporaries. Barela praises the first two sonatas of Macdowell for their narrative splendour, but had little good to say about the second two.\u00a0 This might shed some light on why Macdowell was \u201cmuch neglected,\u201d even by the 1940s. Macdowell, while an important composer in the development of American music, did not do enough to revolutionize it to gain a spot on the pedestal of history that we historians reserve for the \u201cgreats.\u201d It would indeed be ironic if the music of Macdowell \u201cvanished\u201d with history, just as his Indians did.<\/span><\/p>\n

Works Cited<\/p>\n

Barela, Margaret Mary. <\/span>American Music<\/span><\/i>, vol. 5, no. 2, 1987, pp. 231\u2013233. <\/span>JSTOR<\/span><\/i>, www.jstor.org\/stable\/3052177.<\/span><\/p>\n

Louis G. Wersen. <\/span>Music Educators Journal<\/span><\/i>, vol. 30, no. 4, 1944, pp. 42\u201342. <\/span>JSTOR<\/span><\/i>, www.jstor.org\/stable\/3386289.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

In our studies of Native American music, I have come across the name \u201cEdward Macdowell\u201d several times.\u00a0 Most recently in an article by Daniel Blim entitled \u201cMacdowell\u2019s Vanishing Indians.\u201d This peaked my interest in the composer to see what his … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":3055,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[1],"tags":[492],"class_list":["post-3824","post","type-post","status-publish","format-standard","hentry","category-uncategorized","tag-edward-macdowell"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p7jEhR-ZG","_links":{"self":[{"href":"https:\/\/pages.stolaf.edu\/americanmusic\/wp-json\/wp\/v2\/posts\/3824","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pages.stolaf.edu\/americanmusic\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/pages.stolaf.edu\/americanmusic\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/pages.stolaf.edu\/americanmusic\/wp-json\/wp\/v2\/users\/3055"}],"replies":[{"embeddable":true,"href":"https:\/\/pages.stolaf.edu\/americanmusic\/wp-json\/wp\/v2\/comments?post=3824"}],"version-history":[{"count":1,"href":"https:\/\/pages.stolaf.edu\/americanmusic\/wp-json\/wp\/v2\/posts\/3824\/revisions"}],"predecessor-version":[{"id":3826,"href":"https:\/\/pages.stolaf.edu\/americanmusic\/wp-json\/wp\/v2\/posts\/3824\/revisions\/3826"}],"wp:attachment":[{"href":"https:\/\/pages.stolaf.edu\/americanmusic\/wp-json\/wp\/v2\/media?parent=3824"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/pages.stolaf.edu\/americanmusic\/wp-json\/wp\/v2\/categories?post=3824"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/pages.stolaf.edu\/americanmusic\/wp-json\/wp\/v2\/tags?post=3824"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}