375:"To a Water-lily" has what the music historian John F. Porte described as "one of the most exquisite and perfect lyrics MacDowell ever composed for the pianoforte". The piece is mostly played on the black keys, with a meter change in the short middle section between two rounds of the opening passage scored on three staffs. MacDowell's inspiration for the piece came when his wife introduced him to the titular plant on one of their walks. To illustrate the floating flowers, MacDowell uses triple piano and pedal effects. Bomberger noted that this piece was an early example of impressionistic textures in American music, and it rivaled "To a Wild Rose" in popularity.
262:, consisting of simple melodies with chordal accompaniment. Many of the pieces' subjects are indicative of the nature and wildlife surrounding MacDowell's farm ("To a Wild Rose", "Will o' the Wisp", "To a Water-lily", "By a Meadow Brook") or are inspired by the MacDowells' frequent walks in the woods ("At an Old Trysting-place", "From an Indian Lodge", "A Deserted Farm"). According to the musicologist Douglas E. Bomberger, the pieces "are suggestive of extramusical ideas without telling a specific story". The musicologist Michael Broyles drew a connection between the suite and the short piano pieces of Norwegian composer
22:
449:, MacDowell's speech "assumes for the first time some of its most engaging and distinctive characteristics" and that the pieces "have an inescapable fragrance, tenderness, and zest". Gilman recognized "At an Old Trysting-place", "From an Indian Lodge", "To a Water-lily", "A Deserted Farm", and "Told at Sunset" to be pieces of "a different calibre", remarkable for their "richness of emotion", "dramatic purpose", and "tactful reticence". He commented that the other five pieces "are slight in poetic substance, though executed with charm and humour".
106:... in fact live like a human being once more. Then when I have sufficiently worn off the effect of living in town I begin to think seriously of work. Some fine day I feel just in the mood for it and sit down to it. I almost never make any notes beforehand, but when I get an idea go to work and finish it up at once. It's of no use to say before I begin what I am going to do. I can only work as I feel, and sometimes accomplish nothing at all when I have felt that I was beautifully primed up...
1609:
433:
Farm" returns before reaching the piece's conclusion: silence followed by stern chords from the introduction to "From an Indian Lodge" that begin soft but finish in fortissimo. MacDowell used the Scotch snap rhythm extensively in "Told at Sunset", leading
Bomberger to call the piece "The Apotheosis of the Scotch Snap".
98:. During the summer of 1896, MacDowell was inspired by the nature around his summer home and began composing brief melodies every morning, of which he later disposed. That past April, MacDowell explained how his composing occurred mostly in the summer as well as the importance of inspiration to his work:
411:
described "A Deserted Farm" as the "quintessence of 's style". The piece opens and ends with a grave theme in the minor key. This is contrasted by a middle section in the major key, marked "pianissimo as heard from afar" to indicate echoes from past barn dances. For this work, MacDowell was inspired
432:
The tenth and last piece, "Told at Sunset", recalls material from earlier pieces like "At an Old
Trysting-place". The piece opens with a theme similar to "A Deserted Farm", which dies away before a new theme grows louder and then also dies away. A more expressive form of the theme from "A Deserted
351:. The piece ends on loud, orchestral-like chords. Just as "To a Wild Rose", "From an Indian Lodge" uses a melody from the Brotherton Indians. However, the piece also incorporates other Native American motifs; the first eight measures correspond to the "Songs of the
122:
in 1899. The suite grew popular, and upon MacDowell's death in 1908, had reportedly sold over one hundred thousand copies. The appeal of MacDowell's pieces was due in part to their accessibility to amateur pianists during a time when many households owned a piano.
310:
Bomberger considered "Will o' the Wisp" to be "the most virtuosic of the set", evoking MacDowell's love for "extreme speed". The music historian Neil
Leonard cited "Will o' the Wisp" as an example of MacDowell's "concern for atmospheric effects" in depicting the
282:, and it achieved what Bomberger described as "phenomenal popularity". MacDowell believed the work's popularity arose because the publisher spread its score generously across two pages. The piece begins with a spare melody, based on a simple one from the
327:"At an Old Trysting-place" is the shortest piece in the suite. The music portrays the return to a place where one has once met their lover. It consists of a "long-breathed" melody, in contrast to the melodic fragments in "To a Wild Rose".
146:
I am working toward a music which shall be
American in the creative sense. Our music thus far has been a scholarly restatement, old world themes. In other words it is derived from Germany as all my earlier pieces
137:
s source of inspiration in the
American landscape may have been one way for MacDowell to " an identity as an American composer". Some time prior to composing the sketches, MacDowell told the American writer
335:"In Autumn" begins with a "brisk, staccato theme" followed by chromatic runs. The music shifts to a mysterious and questioning tone in the middle section before returning to the joyous opening theme.
424:, which flows past his Peterborough property. The piece suggests what MacDowell's wife described as "the busy, noisy, little stream rushing over a rocky bed" before closing on a diminuendo.
1455:
54:, where each piece was inspired by a different aspect of the surrounding nature and landscape. The suite was first published in 1896, with pieces such as "
1443:
468:, Op. 62 (1902). Michael Broyles wrote in 1998 that MacDowell's "sense of color, focus, and economy of means was extraordinary" in these suites.
1569:
1236:
355:, Nos. 1 and 2", while measures 9 to 25 correspond to the "Song of the Brotherton Indians". These melodies are compiled in the musicologist
452:
In his 1991 treatise on
American music, Nicholas E. Tawa deemed that "the finest of MacDowell's short characteristic pieces" are found in
102:
I never attempt composition in the winter, but give all my time to routine work. In the summer I hire a house somewhere out in the country
58:" (No. 1) and "To a Water-lily" (No. 6) becoming some of MacDowell's most popular works. While some pieces are notable for their use of
1491:
1638:
1612:
1450:
1163:
1509:
497:"Songs of the Walla-Walla Indians" is numbered 42 and "Song of the Brotherton Indians" is numbered 37 in Baker's dissertation.
1095:
1072:
67:
1564:
1427:
1376:
1333:
1221:
1151:
1079:
1056:
1353:
399:. Nevertheless, Bomberger assessed the result as "charmingly nostalgic", and Porte found the piece "delightfully frank".
119:
1231:
1040:
980:
127:
1402:
1024:
908:
945:
783:
681:
1523:
576:
720:
1008:
961:
839:
767:
278:
The suite's first piece, "To a Wild Rose", is "MacDowell's best known single work" according to the musicologist
924:
811:
748:
697:
560:
1484:
1298:
1245:
592:
541:
510:
608:
114:". It became the first in a set of ten pieces MacDowell composed that summer, which were first published as
78:
is considered by critics and historians to contain some of MacDowell's most skillful and distinctive works.
1172:
91:
51:
1633:
1591:
1419:
1205:
1477:
1143:
1089:
1066:
1050:
990:
1643:
1135:
691:
586:
110:
At the suggestion of his wife, MacDowell recovered one of the thrown-away pieces and titled it "
1574:
396:
316:
71:
59:
1197:
1125:
955:
939:
821:
793:
761:
730:
714:
621:
602:
554:
520:
1586:
1279:
1034:
1018:
974:
918:
854:
777:
570:
21:
384:
8:
312:
283:
174:
1464:
1273:
291:
1390:
1310:
1289:
1257:
1184:
352:
279:
1423:
1398:
1372:
1329:
1217:
1147:
343:"From an Indian Lodge" opens with bare octaves, introducing a musical depiction of a
1362:
1581:
1500:
1343:
1302:
1249:
1209:
1176:
1139:
445:
to be among "the choicest emanation of MacDowell's genius". He later wrote that in
87:
47:
1213:
1413:
1347:
1323:
1269:
1129:
421:
408:
118:
that fall by P. L. Jung in New York. The work was then assigned to the publisher
1545:
395:
and elements of
Southern culture despite never having directly experienced the
356:
299:
161:
139:
111:
55:
441:
In his 1908 study on MacDowell's life, Lawrence Gilman considered some of the
90:
fulfilled their dream of owning a country home with the purchase of a farm in
1627:
1415:
The Coming of Age of
American Art Music: New England's Classical Romanticists
1386:
295:
211:
178:
39:
1528:
1368:
1234:(1996). "Edward MacDowell: Musical Nationalism and an American Tone Poet".
267:
263:
259:
187:
388:
287:
220:
63:
35:
286:. The melody is played in short fragments and accompanied by chords and
1314:
1188:
302:. Crawford opined that the piece's harmony "saves it from blandness".
1261:
412:
by an abandoned farmstead where he and his wife previously had lunch.
50:. It was written during an 1896 stay at MacDowell's summer retreat in
1306:
1180:
1161:
Brancaleone, Francis (1989). "Edward MacDowell and Indian
Motives".
1469:
1253:
94:. The farm served as MacDowell's summer retreat, where he composed
1458:
MacDowell: Woodland
Sketches / Fireside Tales / New England Idyls
344:
245:
224:
202:
165:
1364:
Edward MacDowell: A Great American Tone Poet, His Life and Music
884:
383:"From Uncle Remus" reflects MacDowell's nostalgia from reading
348:
322:
872:
392:
43:
1397:. Vol. 15 (2 ed.). Macmillan Publishers Limited.
1287:
Leonard, Neil (1966). "Edward MacDowell and the Realists".
642:
338:
896:
860:
659:
657:
632:
630:
531:
529:
266:, a Norse similarity that is also evident in MacDowell's
931:
929:
927:
753:
751:
706:
704:
702:
700:
456:, as well as in three of MacDowell's subsequent suites:
415:
799:
736:
546:
544:
378:
305:
996:
827:
654:
627:
526:
484:
This quote is originally found in Garland's 1930 book
427:
402:
370:
669:
613:
611:
420:"By a Meadow Brook" is MacDowell's impression of the
273:
156:
The suite (Op. 51) consists of ten pieces for piano:
966:
964:
846:
844:
842:
1102:
391:. In the piece, MacDowell attempts to imitate the
1625:
330:
1395:The New Grove Dictionary of Music and Musicians
294:, which can also be heard as a version of the
66:wilderness, others are based on elements from
1485:
1237:Journal of the American Musicological Society
361:Über die Musik der nordamerikanischen Wilden
191:("Somewhat quaintly, not too sentimentally")
1160:
1144:10.1093/acprof:osobl/9780199899296.003.0014
902:
890:
878:
866:
1492:
1478:
365:On the Music of the North American Indians
238:No. 9, "By a Meadow Brook" — A-flat major
1465:Theodore Baker's dissertation (in German)
1451:International Music Score Library Project
1342:
1123:
1094:sfn error: no target: CITEREFGilman1921 (
1071:sfn error: no target: CITEREFGilman1921 (
951:
935:
817:
789:
757:
710:
675:
598:
550:
516:
232:No. 8, "A Deserted Farm" — F-sharp minor
1230:
805:
742:
648:
636:
20:
1286:
1202:The Cambridge History of American Music
1195:
1002:
833:
726:
663:
617:
1626:
1268:
1085:
1062:
1046:
986:
1473:
1385:
1360:
1030:
1014:
970:
914:
850:
773:
687:
582:
566:
367:), which MacDowell received in 1891.
1565:American Academy of Arts and Letters
1499:
1411:
1325:Edward MacDowell: An American Master
1321:
1108:
535:
290:. The climax consists of a repeated
186:No. 3, "At an Old Trysting-place" —
195:No. 4, "In Autumn" — F-sharp minor
13:
323:"At an Old Trysting-place" (No. 3)
14:
1655:
1437:
197:("Buoyantly, almost exuberantly")
1639:Compositions by Edward MacDowell
1608:
1607:
206:("Sternly, with great emphasis")
201:No. 5, "From an Indian Lodge" —
86:In 1896, MacDowell and his wife
46:pieces by the American composer
491:
478:
182:("Swift and light; fancifully")
16:Piano suite by Edward MacDowell
1299:Johns Hopkins University Press
1246:University of California Press
1124:Bomberger, E. Douglas (2013).
339:"From an Indian Lodge" (No. 5)
1:
1214:10.1017/CHOL9780521454292.010
1198:"Art music from 1860 to 1920"
504:
298:. The piece concludes with a
228:("With much humor, joyously")
215:("In dreamy, awaying rhythm")
1524:Piano Concerto No. 2, Op. 23
1200:. In Nicholls, David (ed.).
1173:University of Illinois Press
471:
436:
359:'s 1882 German dissertation
62:techniques in depicting the
7:
416:"By a Meadow Brook" (No. 9)
244:No. 10, "Told at Sunset" —
210:No. 6, "To a Water-lily" —
92:Peterborough, New Hampshire
52:Peterborough, New Hampshire
10:
1660:
1460:(Naxos recording 8.559010)
1412:Tawa, Nicholas E. (1991).
1369:E. P. Dutton & Company
1322:Levy, Alan Howard (1998).
1206:Cambridge University Press
1117:
379:"From Uncle Remus" (No. 7)
306:"Will o' the Wisp" (No. 2)
169:("With simple tenderness")
81:
1603:
1557:
1516:
1507:
1275:Edward MacDowell: A Study
1196:Broyles, Michael (1998).
428:"Told at Sunset" (No. 10)
403:"A Deserted Farm" (No. 8)
371:"To a Water-lily" (No. 6)
364:
151:
389:titular African American
274:"To a Wild Rose" (No. 1)
25:Edward MacDowell c. 1902
1361:Porte, John F. (1922).
1136:Oxford University Press
240:("Gracefully, merrily")
1575:Edward MacDowell Medal
1126:"A Cabin in the Woods"
149:
108:
26:
1587:Mendelssohn Glee Club
464:, Op. 61 (1902); and
254:Most of the works in
234:("With deep feeling")
144:
100:
24:
1510:List of compositions
1208:. pp. 214–254.
1138:. pp. 198–208.
893:, pp. 359, 379.
651:, pp. 542, 549.
385:Joel Chandler Harris
319:and economic style.
292:dominant ninth chord
126:The music historian
1391:"MacDowell, Edward"
1328:. Scarecrow Press.
881:, pp. 375–376.
538:, pp. 152–153.
353:Walla-Walla Indians
331:"In Autumn" (No. 4)
130:wrote in 1996 that
1290:American Quarterly
466:New England Idylls
300:Scotch snap rhythm
284:Brotherton Indians
280:H. Wiley Hitchcock
27:
1634:1896 compositions
1621:
1620:
1593:Woodland Sketches
1548:
1538:Woodland Sketches
1445:Woodland Sketches
1354:Arthur P. Schmidt
1349:Woodland Sketches
1344:MacDowell, Edward
1232:Crawford, Richard
486:Roadside Meetings
460:, Op. 55 (1898);
454:Woodland Sketches
447:Woodland Sketches
443:Woodland Sketches
407:The music critic
387:' stories of the
256:Woodland Sketches
132:Woodland Sketches
120:Arthur P. Schmidt
116:Woodland Sketches
96:Woodland Sketches
76:Woodland Sketches
31:Woodland Sketches
1651:
1611:
1610:
1582:Marian MacDowell
1546:"To a Wild Rose"
1544:
1501:Edward MacDowell
1494:
1487:
1480:
1471:
1470:
1456:Media notes for
1449:: Scores at the
1433:
1429:978-0-31327-7979
1408:
1382:
1378:978-0-59885-1840
1357:
1339:
1335:978-0-81083-4637
1318:
1283:
1270:Gilman, Lawrence
1265:
1227:
1223:978-0-52145-4292
1192:
1157:
1153:978-0-19989-9296
1112:
1106:
1100:
1099:
1083:
1077:
1076:
1060:
1054:
1044:
1038:
1028:
1022:
1012:
1006:
1000:
994:
984:
978:
968:
959:
949:
943:
933:
922:
912:
906:
903:Brancaleone 1989
900:
894:
891:Brancaleone 1989
888:
882:
879:Brancaleone 1989
876:
870:
867:Brancaleone 1989
864:
858:
848:
837:
831:
825:
815:
809:
803:
797:
787:
781:
771:
765:
755:
746:
740:
734:
724:
718:
708:
695:
685:
679:
673:
667:
661:
652:
646:
640:
634:
625:
615:
606:
596:
590:
580:
574:
564:
558:
548:
539:
533:
524:
514:
498:
495:
489:
482:
366:
250:
241:
235:
229:
216:
207:
198:
192:
183:
175:Will o' the Wisp
170:
136:
128:Richard Crawford
105:
48:Edward MacDowell
1659:
1658:
1654:
1653:
1652:
1650:
1649:
1648:
1624:
1623:
1622:
1617:
1599:
1553:
1512:
1503:
1498:
1440:
1430:
1420:Greenwood Press
1405:
1379:
1336:
1307:10.2307/2711180
1224:
1181:10.2307/3051911
1154:
1120:
1115:
1107:
1103:
1093:
1084:
1080:
1070:
1061:
1057:
1045:
1041:
1029:
1025:
1013:
1009:
1001:
997:
985:
981:
969:
962:
950:
946:
934:
925:
913:
909:
901:
897:
889:
885:
877:
873:
865:
861:
849:
840:
832:
828:
816:
812:
804:
800:
788:
784:
772:
768:
756:
749:
741:
737:
725:
721:
709:
698:
686:
682:
674:
670:
662:
655:
647:
643:
635:
628:
616:
609:
597:
593:
581:
577:
565:
561:
549:
542:
534:
527:
515:
511:
507:
502:
501:
496:
492:
483:
479:
474:
439:
430:
422:Nubanusit Brook
418:
409:Lawrence Gilman
405:
381:
373:
341:
333:
325:
317:impressionistic
308:
276:
249:("With Pathos")
248:
239:
233:
227:
214:
205:
196:
190:
181:
168:
154:
134:
103:
84:
68:Native American
60:impressionistic
17:
12:
11:
5:
1657:
1647:
1646:
1644:Suites (music)
1641:
1636:
1619:
1618:
1616:
1615:
1604:
1601:
1600:
1598:
1597:
1589:
1584:
1579:
1578:
1577:
1567:
1561:
1559:
1555:
1554:
1552:
1551:
1550:
1549:
1534:
1526:
1520:
1518:
1514:
1513:
1508:
1505:
1504:
1497:
1496:
1489:
1482:
1474:
1468:
1467:
1462:
1453:
1439:
1438:External links
1436:
1435:
1434:
1428:
1409:
1403:
1389:, ed. (2001).
1387:Sadie, Stanley
1383:
1377:
1358:
1340:
1334:
1319:
1284:
1266:
1254:10.2307/831771
1228:
1222:
1193:
1164:American Music
1158:
1152:
1119:
1116:
1114:
1113:
1111:, p. 145.
1101:
1078:
1055:
1039:
1023:
1007:
1005:, p. 179.
995:
979:
960:
952:Bomberger 2013
944:
936:Bomberger 2013
923:
907:
905:, p. 375.
895:
883:
871:
869:, p. 362.
859:
838:
836:, p. 180.
826:
818:Bomberger 2013
810:
808:, p. 544.
798:
790:Bomberger 2013
782:
766:
758:Bomberger 2013
747:
745:, p. 543.
735:
719:
711:Bomberger 2013
696:
680:
676:MacDowell 1924
668:
666:, p. 176.
653:
641:
639:, p. 542.
626:
607:
599:Bomberger 2013
591:
575:
559:
551:Bomberger 2013
540:
525:
517:Bomberger 2013
508:
506:
503:
500:
499:
490:
476:
475:
473:
470:
462:Fireside Tales
438:
435:
429:
426:
417:
414:
404:
401:
397:American South
380:
377:
372:
369:
357:Theodore Baker
340:
337:
332:
329:
324:
321:
313:titular lights
307:
304:
275:
272:
252:
251:
242:
236:
230:
217:
208:
199:
193:
184:
171:
162:To a Wild Rose
153:
150:
140:Hamlin Garland
112:To a Wild Rose
83:
80:
56:To a Wild Rose
15:
9:
6:
4:
3:
2:
1656:
1645:
1642:
1640:
1637:
1635:
1632:
1631:
1629:
1614:
1606:
1605:
1602:
1596:
1594:
1590:
1588:
1585:
1583:
1580:
1576:
1573:
1572:
1571:
1568:
1566:
1563:
1562:
1560:
1556:
1547:
1543:
1542:
1541:
1539:
1535:
1533:
1531:
1527:
1525:
1522:
1521:
1519:
1515:
1511:
1506:
1502:
1495:
1490:
1488:
1483:
1481:
1476:
1475:
1472:
1466:
1463:
1461:
1459:
1454:
1452:
1448:
1446:
1442:
1441:
1431:
1425:
1421:
1417:
1416:
1410:
1406:
1404:1-56159-239-0
1400:
1396:
1392:
1388:
1384:
1380:
1374:
1370:
1366:
1365:
1359:
1355:
1351:
1350:
1345:
1341:
1337:
1331:
1327:
1326:
1320:
1316:
1312:
1308:
1304:
1300:
1296:
1292:
1291:
1285:
1281:
1277:
1276:
1271:
1267:
1263:
1259:
1255:
1251:
1247:
1243:
1239:
1238:
1233:
1229:
1225:
1219:
1215:
1211:
1207:
1203:
1199:
1194:
1190:
1186:
1182:
1178:
1174:
1170:
1166:
1165:
1159:
1155:
1149:
1145:
1141:
1137:
1133:
1132:
1127:
1122:
1121:
1110:
1105:
1097:
1091:
1087:
1082:
1074:
1068:
1064:
1059:
1052:
1048:
1043:
1036:
1032:
1027:
1020:
1016:
1011:
1004:
999:
992:
988:
983:
976:
972:
967:
965:
957:
953:
948:
941:
937:
932:
930:
928:
920:
916:
911:
904:
899:
892:
887:
880:
875:
868:
863:
856:
852:
847:
845:
843:
835:
830:
823:
819:
814:
807:
806:Crawford 1996
802:
795:
791:
786:
779:
775:
770:
763:
759:
754:
752:
744:
743:Crawford 1996
739:
732:
728:
723:
716:
712:
707:
705:
703:
701:
693:
689:
684:
677:
672:
665:
660:
658:
650:
649:Crawford 1996
645:
638:
637:Crawford 1996
633:
631:
623:
619:
614:
612:
604:
600:
595:
588:
584:
579:
572:
568:
563:
556:
552:
547:
545:
537:
532:
530:
522:
518:
513:
509:
494:
487:
481:
477:
469:
467:
463:
459:
455:
450:
448:
444:
434:
425:
423:
413:
410:
400:
398:
394:
390:
386:
376:
368:
362:
358:
354:
350:
346:
336:
328:
320:
318:
314:
303:
301:
297:
296:Tristan chord
293:
289:
285:
281:
271:
269:
268:piano sonatas
265:
261:
257:
247:
243:
237:
231:
226:
222:
219:No. 7, "From
218:
213:
212:F-sharp major
209:
204:
200:
194:
189:
185:
180:
179:F-sharp minor
176:
172:
167:
163:
159:
158:
157:
148:
143:
141:
133:
129:
124:
121:
117:
113:
107:
99:
97:
93:
89:
79:
77:
73:
69:
65:
61:
57:
53:
49:
45:
42:of ten short
41:
37:
33:
32:
23:
19:
1592:
1537:
1536:
1530:Indian Suite
1529:
1457:
1444:
1414:
1394:
1363:
1348:
1324:
1294:
1288:
1274:
1241:
1235:
1201:
1168:
1162:
1130:
1104:
1081:
1058:
1042:
1026:
1010:
1003:Leonard 1966
998:
982:
947:
910:
898:
886:
874:
862:
834:Leonard 1966
829:
813:
801:
785:
769:
738:
727:Broyles 1998
722:
683:
671:
664:Leonard 1966
644:
618:Broyles 1998
594:
578:
562:
512:
493:
485:
480:
465:
461:
457:
453:
451:
446:
442:
440:
431:
419:
406:
382:
374:
360:
342:
334:
326:
309:
288:pedal points
277:
264:Edvard Grieg
260:ternary form
255:
253:
188:A-flat major
155:
145:
131:
125:
115:
109:
101:
95:
85:
75:
30:
29:
28:
18:
1301:: 175–182.
1248:: 528–560.
1175:: 359–381.
1088:, pp.
1086:Gilman 1921
1065:, pp.
1063:Gilman 1921
1047:Gilman 1908
1033:, pp.
987:Gilman 1908
954:, pp.
917:, pp.
792:, pp.
729:, pp.
221:Uncle Remus
64:New England
38:. 51, is a
1628:Categories
1049:, p.
1031:Porte 1922
1017:, p.
1015:Porte 1922
989:, p.
973:, p.
971:Porte 1922
938:, p.
915:Porte 1922
853:, p.
851:Porte 1922
820:, p.
776:, p.
774:Porte 1922
760:, p.
713:, p.
690:, p.
688:Sadie 2001
620:, p.
601:, p.
585:, p.
583:Sadie 2001
569:, p.
567:Porte 1922
553:, p.
519:, p.
505:References
458:Sea Pieces
363:(English:
1570:MacDowell
1280:John Lane
1131:MacDowell
1109:Tawa 1991
536:Levy 1998
472:Footnotes
437:Reception
315:with his
1613:Category
1595:(ballet)
1540:, Op. 51
1532:, Op. 48
1447:, Op. 51
1346:(1924).
1272:(1908).
173:No. 2, "
160:No. 1, "
72:Southern
1558:Related
1315:2711180
1189:3051911
1118:Sources
1090:140–141
1067:139–140
1035:122–123
956:202–203
919:120–121
794:201–202
731:243–244
345:pow wow
258:are in
246:F minor
225:F major
203:C minor
166:A major
82:History
74:music.
1426:
1401:
1375:
1332:
1313:
1262:831771
1260:
1220:
1187:
1150:
349:wigwam
152:Pieces
104:
88:Marian
1517:Music
1311:JSTOR
1297:(2).
1258:JSTOR
1244:(3).
1185:JSTOR
1171:(4).
393:banjo
347:in a
147:were.
135:'
44:piano
40:suite
1424:ISBN
1399:ISBN
1373:ISBN
1330:ISBN
1218:ISBN
1148:ISBN
1096:help
1073:help
223:" —
177:" —
164:" —
70:and
1303:doi
1250:doi
1210:doi
1177:doi
1140:doi
1051:134
1019:122
991:139
975:121
940:203
855:119
822:202
778:118
762:201
715:200
692:462
622:244
603:204
587:463
571:117
555:199
521:198
1630::
1422:.
1418:.
1393:.
1371:.
1367:.
1352:.
1309:.
1295:18
1293:.
1278:.
1256:.
1242:49
1240:.
1216:.
1204:.
1183:.
1167:.
1146:.
1134:.
1128:.
963:^
926:^
841:^
750:^
699:^
656:^
629:^
610:^
543:^
528:^
270:.
142::
36:Op
34:,
1493:e
1486:t
1479:v
1432:.
1407:.
1381:.
1356:.
1338:.
1317:.
1305::
1282:.
1264:.
1252::
1226:.
1212::
1191:.
1179::
1169:7
1156:.
1142::
1098:)
1092:.
1075:)
1069:.
1053:.
1037:.
1021:.
993:.
977:.
958:.
942:.
921:.
857:.
824:.
796:.
780:.
764:.
733:.
717:.
694:.
678:.
624:.
605:.
589:.
573:.
557:.
523:.
488:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
.jpg)