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of the San Blas Cuna Indians of Panama (Göteborg, 1974) R.R. Smith : The Society of Los Congos of Panama: an Ethnomusicological Study of the Music and Dance-theater of an Afro-Panamanian Group (diss., Indiana, U., 1976) L.R. and R.A. Cheville : Festivals and Dances of Panama (Panamá, 1977) R. Velasquez and M. Brandt : Culturas aborígenes de Latinoamérica , i: Guaymíes: Panamá (Caracas, 1980) [incl. sound cassette and slides] G.M. Lopez and L.G. Joly : ‘Singing a Lullaby in Kuna: a Female Verbal Art’, Journal of American Folklore , 94 (1981),

1969 Sonic Mediations, vv, insts, pfmrs, 1971–2 Postcard Theater (multimedia event), 1972 What to Do, pfmrs, sonic and mixed media, 1972 Crow Two (ceremonial op), 1974 Theatre of Substitution, 1 pfmr, 1975 Bonn Feier, 1977 Theatre of Substitutions: Blind/Dumb/Director, 1977 Yellow River Map, 50 or more pfmrs, 1977 Travelling Companions, dancers, perc ens, 1980 Dream Horse Spiel, radio play, vv and sound effects, 1988 Njinga the Queen King, 1993 Tribute to Jerry Hunt, accdn, video, 1994 Ghost Dance, tape, ens, dancer, actors with choreographer Paula Josa Jones, 1998 Paulina

with quote from “America, the Beautiful”], Flag and Anthem Issue, 18¢ ( 24 April 1981 ) “For Purple Mountains Majesties” [flag with quote from “America, the Beautiful”], Flag and Anthem Issue, 18¢ ( 24 April 1981 ) “Bernard Maybeck, 1862–1957 : Palace of Arts, San Francisco” [popular venue for music, dance and theater events], American Architecture Series, 18¢ ( 28 Aug 1981 ) “Philadelphia Academy of Music,” postcard, 13¢ ( 13 June 1982 ) “Wolf Trap Farm Park For the Performing Arts,” 20¢ ( 1 Sept 1982 ) Igor Stravinsky, Great Americans Issue, 2¢ ( 18 Nov

Kondorossy, after Kemeny), Little, 21 Oct 1956 The Fox (1, Hall, after K. Mikszath), 28 Jan 1961 Nathan the Wise (poetic drama, 3, Hall), Sunbeam School for Crippled Children, 1964 The Poorest Suitor (children’s op, 1, Hall, after a Blackfoot Indian tale), Sunbeam School for Crippled Children, 24 May 1967 Shizuka’s Dance (children’s op, 1, Hall, after a tale of Prince Bantam), Sunbeam School for Crippled Children, 22 April 1969 Kalamona and the Four Winds (children’s op, 1, Hall, after a Hungarian fairy-tale), WSRS, 12 Sept 1971, vs (Cleveland, 1972) Ruth and

1981 he had produced 11 major American premières and two world premières: Dello Joio's Blood Moon ( 1961 ) and Imbrie's Angle of Repose ( 1976 ). Adler introduced many innovatory programmes, particularly to encourage young American performers: the San Francisco Opera Auditions (from 1964 ), the Merola opera training programme, the Spring Opera ( 1961–82 ), the Western Opera Theater (a touring branch; 1966–96 ), the Brown Bag Opera (held at lunchtime; 1974 ), the San Francisco/Affiliate Artists Opera Program ( 1977 ), the American Opera Project ( 1979 ) and the

Sharing a Heritage: American Indian Arts (Los Angeles, 1984) J.D. Sweet : Dances of the Tewa Pueblo Indians (Santa Fe 1985) G.P. Kurath : Half a Century of Dance Research (Flagstaff, AZ, 1986) L.F. Huenemann : ‘Dakota/Lakota Music and Dance’, in The Arts of South Dakota , ed. R. McIntyre and R.L. Bell (Sioux Falls, SD, 1988) G.P. Horse Capture : Powwow (Cody, WY, 1989) W. Smyth , ed.: Songs of Indian Territory: Native American Music Traditions of Oklahoma (Oklahoma City, OK, 1989) [incl. cassette] W.K. Powers : War Dance: Plains Indian Musical Performance

Feb 15, 1975 ). American country music fiddler. Taking up the fiddle at an early age to entertain neighbors at dances and house parties, Robertson left home at the age of 16 to work as a professional fiddler, performing at first in medicine shows throughout the Indian Territory. He became adept at trick fiddling, a useful skill at fiddlers’ contests. In 1906 he settled near Amarillo, Texas, and tuned pianos for the Total Line Music Company. He continued to play in fiddlers’ contests, and for a time accompanied silent films in Texas theaters. In April 1922 Robertson

Ballet ( 1986 ), directed by Edward Villella, leads the city's dance scene. Dance ensembles range in style from classical ballet to jazz ballet and dance theatre. The University of Miami and New World School of the Arts also have dance programmes. 2. Popular and traditional music. Latin jazz is the most important form of popular music in Miami, with groups from the various islands and regions of the pan-Caribbean and Latin America playing their countries' particular styles, including Cuban dance genres, Haitian compas, Jamaican reggae, Trinidadian calypso

its bhangra music and dance, a genre said to have originated in Punjab and performed during Sikh weddings, harvest and other joyous occasions. Traditional bhangra is usually accompanied by the thundhi and ḍhol (drums), while the pop bhangra , popular in several clubs in Singapore, features electric keyboard, drum and guitar. The Singapore Indian Orchestra is reputed to be the first large Indian music ensemble outside India and is supported by the Singapore Indian Fine Arts Society, which conducts courses on Indian instruments and dance. 4. Eurasians

K. Wilgus : Anglo-American Folksong Scholarship since 1898 (New Brunswick, NH, 1959) B. Nettl : ‘The Songs of Ishi: Musical Style of the Yahi Indians’, MQ , 56 (1965), 460–77 C. Seeger : ‘Versions and Variants of “Barbara Allen” as sung in Traditional Singing Styles in the United States and Recorded by Field Collectors who have deposited the Discs and Tapes in the Archive of American Folk Song in the Library of Congress, Washington, D.C.’, Selected Reports , 1 (1966), 120–67 A.D. Shapiro : The Tune-Family Concept in British-American Folk-Song Scholarship

for str qt; orch suites; tone poems Kbd (pf, unless otherwise stated) 2 Dances (1895) Ballet Waltz (1899) [from the Economites] From Edgeworth Hills, suite (1903) 2 Impromptus to the Memory of Edward MacDowell (1914) Southern Sketches (1923) Chanson triste, org (1925) other descriptive pieces Bibliography ‘Explains Berlin’s Attack upon Poia ’, Musical America , 12/2 (1910) 25 only [interview] A. Nevin : ‘Two Summers with the Blackfeet Indians of Montana’, MQ , 2 (1916), 257–70 N. Slonimsky : ‘Musical Oddities’, The Etude

MA degrees in 16 designated music areas. In the mid-1990s the School of Music and Dance had 56 active faculty and 19 retired faculty members. Bibliography T.T. Waterman : ‘The Religious Practices of the Diegueño Indians’, University of California Publications in American Archaeology and Ethnology , 8 (1910), 271–358 Z. Engelhardt : San Diego Mission (San Francisco, 1920) L. Spier : ‘Southern Diegueño Customs’, University of California Publications in American Archaeology and Ethnology , 20 (1923), 297–358 H.E. Bolton , ed.: Anza's California

expression in the Mexican American/Chicano community, especially in representing Latino perspectives during the current contentious political debates on immigration. See also Border music; Chicano Movement Music; Corrido; Musical theater; ethnic musical theater ; Roman Catholic Church; Southwest; Tejano music; and Texas mexican orchestra . 10. Puerto Rican music. From the heyday of danza to the more recent popularity of salsa and reggaeton, Puerto Rican music has been influential and innovative in areas such as dance and popular music as well

Aboriginal North America (New Haven, CT, 1936) W. Rhodes : ‘North American Indian Music: a Bibliographical Survey of Anthropological Theory’, Notes , 10 (1952–3), 33–45 B. Nettl : North American Indian Musical Styles (Philadelphia, 1954) M. Herndon : Native American Music (Norwood, PA, 1980) R. Keeling , ed.: Women in North American Indian Music: Six Essays (Bloomington, IN, 1989) C. Heth , ed.: Native American Dance: Ceremonies and Social Traditions (Washington DC, 1992) I. Goddard , ed.: Languages: Handbook of North American Indians , 17 (Washington

Hayti ( 1825 ). Sam Sanford built the first dedicated minstrel theater in 1853 and two years later added a second, more popular venue, the 11th Street Opera House. Prominent resident acts included the long-lived Carncross and Dixey’s Minstrels and Frank Dumont’s Minstrels. In 1863 the Ida Aldridge Troupe, one of the few troupes to feature black performers, appeared at Franklin Hall, a dance hall on east Spruce Street. Between 1890 and 1910 Benjamin F. Keith and Marcus Loew established theaters in northeast cities that included Philadelphia locations and featured

and Toccata, pf (1948) Tarantelle, 2 pf (1948) Festival Scherzo, pf, str orch, 1951 (1964) Sonata, 2 pf (1951) March: for the New Year, pf (1954) Caribbean Dance (Tempo Tobago), 2 pf/1 pf (1959) Dance Suite, pf (1961): Italian Dance [also arr. 2 pf/ob, pf], West Indian Dance [also arr. 2 pf], American Dance, Waltz Finale; Polka (fl/ob, pf)/pf (1962) Colour Suite, pf (1963) Danza gaya, 2 pf/ob, pf (1965) 3 Dances, pf, 1968 (1981) Trio, fl, ob, pf, 1968 (1970) Valse française, pf/2 pf (1980) 3 Pieces: WIB Waltz, Sarabande, Tango, fl, pf (1983) Waltz, ob, pf (1983) Suite

and a Western dance band stage right. These ensembles perform separately to provide music before the play and to accompany songs and dances during the play, but they may sound together at exciting moments in the play itself. Some of the music and dance found in zat-pwè is derived from a court dance-drama form known as zat-kyì , which flourished during the decades following the sacking of the Thai kingdom of Ayudhya in 1767 , at which time Thai musicians and dancers were brought to the Burmese court. The zat-kyì presented stories from the Indian Rāmāyaṇa epic

Mabilat : Orientalism and Representations of Music in the Nineteenth-Century British Popular Arts (Aldershot, 2008) W.A. Sheppard : ‘Continuity in Composing the American Cross-Cultural: Eichheim, Cowell, and Japan’, JAMS , vol.61 (2008), 465–540 K. Yri : ‘Medievalism and Exoticism in the Music of Dead Can Dance’, CMc , no.85 (2008), 53–72 I. van Rij : ‘“There Is No Anachronism”: Indian Dancing Girls in Ancient Carthage in Berlioz’s Les Troyens’, 19CM , vol.33 (2008–9), 3–24 N. Al-Taee : ‘Under the Spell of Magic: the Oriental Tale in Rimsky-Korsakov’s

CT, 1992) Zheng Su De San : Immigrant Music and Transnational Discourse: Chinese American Music Culture in New York City (diss., Wesleyan U., 1993) F.M. Figueroa : Encyclopedia of Latin American Music in New York (St Petersburg, FL, 1994) D.R. Hill : ‘A History of West Indian Carnival in New York City to 1978’, New York Folklore , 20 (1994), 47–66 L. Waxer : ‘Of Mambo Kings and Songs of Love: Dance Music in Havana and New York from the 1930s to the 1950s’, Latin American Music Review , 15 (1994), 139–76 R. Glasser : My Music is my Flag: Puerto Rican

three-note motif. It became one of the most successful ragtime compositions, appearing 31 times on 78 r.p.m. recordings alone, and entered the aural tradition of country, string-band and bluegrass music. His Iola ( 1906 ) helped create a fashion for ‘Indian intermezzi’ – piano pieces that supposedly evoked American Indian culture; words were later added, and the piece eventually sold more than 1,200,000 copies. Several of Johnson’s rags became popular during the ragtime revival of the 1970s and 80s. In 1919 he wrote the successful song, Sweet and Low , but by the