| Book Review | The American Historical Review, 109.5

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| Book Review | The American Historical Review, 109.5 | The History Cooperative

Denise von Glahn. The Sounds of Place: Music and the American Cultural Landscape. Boston: Northeastern University Press. 2003. Pp. xiii, 361. $55.00.
Denise von Glahn's study, as she puts it, "focuses on the unique way in which music of the cultivated tradition expresses, defines and celebrates place. In so doing it articulates one way the nation has expressed, defined and celebrated itself" (p. 12). In other words, she asks how American composers, like painters and poets, have regularly celebrated place in America—natural features, great cities, the frontier, and so on—as icons of American exceptionalism.	1
The author builds her argument around twenty-five works (plus William Grant Still's Lenox Avenue, to which she devotes some attention in her discussion of Duke Ellington's Harlem) by fourteen American composers, from the nineteenth-century Bohemian immigrant Anthony Philip Heinrich to such contemporary figures as Steve Reich and Ellen Taaffe Zwilich. Some of the pieces, like the several musical depictions of Niagara Falls, Ferde Grofé's Grand Canyon Suite, and Charles Ives's introspective The Housatonic at Stockbridge, represent places distinguished by their natural features. Others—for example Aaron Copland's similarly introspective vision of New York, Quiet City; Ellington's Harlem and Harlem Air Shaft; and Roy Harris's celebration of the frontier, Cimarron—portray places distinctive for human events associated with them.	. . .

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