| Book Review | The American Historical Review, 112.4

You have not been recognized as a subscriber to the AHR online. About 203 words from this article are provided below; about 602 words remain.

If you are a individual member of the American Historical Association, you may:: • login here if you have already registered for online access.; • Or if you're already logged in register your subscription.
• Set up your online account for the first time. AHA members can go to the AHA individual membership section to locate their member numbers.
If you are not a member of the American Historical Association, you can:: • Join the AHA and receive many member benefits including print and electronic issues of the American Historical Review.
• Purchase a research pass to gain two hour access to the entire History Cooperative web site. You will have full access to current issues of the American Historical Review (104.3-present). Note: the Research Pass does not provide access to JSTOR's holdings of the American Historical Review.
Instititutions can:: • Subscribe to this journal and receive print and electronic issues.
• Activate your existing subscription so that we recognize your IP number ranges.

| Book Review | The American Historical Review, 112.4 | The History Cooperative

Michael V. Pisani. Imagining Native America in Music. New Haven, Conn.: Yale University Press. 2005. Pp. xiv, 422. $48.00.
What has Native America sounded like over the years? In broadest terms, that is the question Michael V. Pisani sets out to answer in this marvelously ambitious study. More specifically, Pisani wants to know how Native America has been represented in the musical productions of Euro-America, and his investigations cross two continents, nearly four and a half centuries, and numerous musical genres.	1
All this terrain is covered roughly chronologically, beginning in seventeenth-century Europe with the musical compositions of Jean-Baptiste Lully for Louis XIV and ending in Hollywood in 1998 with the protagonist of the film Smoke Signals singing a song about John Wayne's teeth. This big sweep is broken up into nine chapters, grouped into four sections.	2
The first two chapters focus on how Native America was musically represented in Europe during the seventeenth and eighteenth centuries. Pisani finds that depictions of noble savages and heroic warriors fascinated European audiences, and that these depictions on the popular stage, in turn, defined for Europeans "the very essence of `American'" (p. 74).	. . .

There are about 602 more words in this article. Please log in (or, if you are not yet an authorized user, please go to the User Setup page) to gain full access rights. Or if you're already logged in register your subscription.