| Book Review | The American Historical Review, 110.2

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| Book Review | The American Historical Review, 110.2 | The History Cooperative

Book Review

Canada and the United States

Michael Broyles. Mavericks and Other Traditions in American Music. New Haven: Yale University Press. 2004. Pp. 387. $40.00.

Michael Broyles's ambitious and stimulating study traces the history of American musical mavericks: creative visionaries who, by choice or circumstance, largely resided outside of the musical and cultural mainstream. The eighteenth-century hymn composer William Billings and the antebellum symphonist Anthony Philip Heinrich, Broyles shows, were mavericks largely by circumstance, isolated by the lack of viable musical networks in the early United States. After the mid-nineteenth century, commercial song publishing, the musical stage, and above all German-trained classical composers created such networks, and now mavericks were those who defined themselves in opposition to this status quo. The young Leo Ornstein's pianistic modernism guaranteed him only a brief vogue in the 1910s, while for decades Charles Ives pursued a career in insurance, scorned musical professionals, and composed dissonant works in isolation. In 1922 modernist composers began to organize their own societies, publications, and concerts. Carl Ruggles, Charles Seeger, and Henry Cowell paved the way for striking iconoclasts such as John Cage and Harry Partch. Shifting post-World War II orthodoxies in art music—involving twelve-tone serialism, free atonality, and minimalism—then led new nonconformists, such as Frank Zappa and Meredith Monk, to carve out startling compositional and performative identities.

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