The memoirs of a performing musician telling how she developed an understanding of her own life as a woman, musician, and writer.

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In this collection of personal essays, clarinetist Ann McCutchan uses the metaphor of circular breathing to animate her understanding of her own life as a woman, musician, and writer. Circular breathing is a technique for wind instrument playing in which fresh air is drawn in through the nose at the same time that stored air in the lungs is released by mouth through the instrument. The process allows the player to produce a continuous line of music without breaking the curve of a melody to inhale.

The questions McCutchan grapples with have universal implications. For example, how does one come to be called to a life’s work? For McCutchan, who grew up in central Florida in the 1960s, the call grew out of twin desires: to exercise a physical voice and to develop an interior one. Bringing both to fruition meant abandoning roles expected of young women in that time and place, and learning to live ever after with the conflicting claims of art and life. Questions of familial loss lie at the heart of this collection, as well. With a sure, delicate hand, McCutchan examines the impact of her parents’ untimely deaths, her inability to bear children, and the foundering of her two marriages. Art may not deliver one from sorrow, she discovers, but it may console—deeply. Finally, there are the questions that arise when one can no longer fulfill the physical demands of an art. Can a musician trade in her instrument, and a world that defined her for decades, for something else? Here, McCutchan charts her journey from the stage to the page, exploring the ways both worlds feed each other.

Ann McCutchan is the author of Marcel Moyse: Voice of the Flute, and The Muse That Sings: Composers Speak About the Creative Process. Her work has appeared in numerous literary journals and in The Best American Spiritual Writing. She teaches creative writing at the University of North Texas.

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Website: http://books.google.com/books?id=Y5JVavBDW6MC&printsec=frontcover&dq=9780865347496&hl=en&ei=_B7QTu3-

Softcover:
6 x 9
ISBN: 978-0-86534-749-6
158 pp.,$16.95

eBook:
ISBN: 978-1-61139-026-1
158 pp.,$9.99

The Story of the International Association of Theatre for Children and Youth in its Beginnings.

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In June 1965, a group of dedicated professional artists of the theatre met in Paris, France to create the International Association of Theatre for Children and Youth (ASSITEJ). Four days later ASSITEJ was born, and ten years later the organization boasted a total of 28 National Centers in Europe, the mid-East, the Far East, and North and South America. This is their story told meeting by meeting.

Leadership in the new organization had come from Great Britain, France, Russia, East Germany, Romania, and the United States. During these ten formative years the world went from an open discovery of new theatrical cultures dedicated to the art of theatre for young people after WWII to a divided membership that found itself lining up politically East to West but still functioning. ASSITEJ currently has over 80 national centers around the world. Its Secretariat is in Sweden, and the members of its current Executive Committee (2005-2008) come from Argentina, Australia, Austria, Croatia, Denmark, Germany, Finland, Great Britain, Israel, Japan, Korea, Rwanda, Sweden, Switzerland, Turkey, USA, and Zambia.

Volume I covers the years from 1964 through 1975. Volume II will cover the years from 1976 to 1990, and Volume III the years from 1991 to 2005.

Nat Eek, PhD, is a Regents Professor Emeritus of Drama, and Dean Emeritus of Fine Arts at the University of Oklahoma. He was personally involved in these formative years, as a member of the Executive Committee of ASSITEJ, a Vice-President, and ultimately its President. In 1988 he was named Honorary President of ASSITEJ. He participated in the events that made ASSITEJ a highly regarded international association dedicated to the art of theatre for young people.

Ann Shaw, EdD, is a Associate Professor Emerita from Queens College of the City College of New York, a research historian of ASSITEJ, an Honorary Member of ASSITEJ International, an authority in creative dramatics and theatre for the handicapped, a former Vice-President of ASSITEJ and Founding President of ASSITEJ/USA, the USA national center for ASSITEJ. Katherine Krzys is the Curator of the Child Drama Collection and Theatre Specialist for the Arizona State University Libraries, where the archives of ASSITEJ/USA and personal documentation about ASSITEJ are held. Her archival training includes The Modern Archive Institute at the National Archives in Washington, DC.

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Softcover:
6 X 9
ISBN: 978-0-86534-660-4
348 pp.,$26.95

The Story of the International Association of Theatre for Children from 1976 to 1990.

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In June 1965 a group of dedicated professional artists of the theatre met in Paris, France, to create the International Association of Theatre for Children and Youth (ASSITEJ). Four days later ASSITEJ was born, and its story began in Discovering A New Audience For Theatre, Volume I (1964 – 1975). Now Volume II covers the years from 1976 – 1990 a period of the greatest divisiveness, which ultimately resulted in a rededication and a worldwide expansion under new leadership. ASSITEJ has over 80 national centers around the world. Its Secretariat is currently in Croatia, and the members of its current Executive Committee (2008 – 2011) come from Argentina, Australia, Austria, Croatia, Denmark, Germany, Finland, Israel, Japan, Korea, Rwanda, Sweden, Switzerland, Turkey, United Kingdom, USA, and Zambia.

Nat Eek, PhD is a Regents Professor Emeritus of Drama, and Dean Emeritus of Fine Arts at the University of Oklahoma. He was personally involved in the first ten years of ASSITEJ, as a member of the Executive Committee, a Vice-President, and ultimately its President. He was named Honorary President of ASSITEJ. He has attended all the International Congresses of this History with the exception of the Moscow Congress in 1984.

Ann Shaw, EdD is an Associate Professor Emerita from Queens College of the City College of New York, a research historian of ASSITEJ, an Honorary Member of ASSITEJ International, an authority in creative dramatics and theatre for the handicapped, a former Vice-President of ASSITEJ and Founding President of ASSITEJ/USA (now TYA/USA), the USA national center for ASSITEJ. She has attended the International Congresses of this History in 1972, and from 1978 through 2005.

Katherine Kryzs is the Curator of the Child Drama Collection and Theatre Specialist for the Arizona State University Libraries, where the archives of ASSITEJ/USA and personal documentation about ASSITEJ are held. Her archival training includes The Modern Archive Institute at the National Archives in Washington, DC. She has also attended several of the International Congresses.

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Softcover:
6 X 9
ISBN: 978-0-86534-798-4
380 pp.,$28.95

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The many thoughts and gratifying memories recounted in this volume began in 1924 and ended in 2013. The memories are of the author’s development as a songwriter and the many talented and likeable people he got to know. The locale is mainly New York City, with important time spent as a composer at a Catskill Mountain resort. Many of the thoughts are about the changing popular music scene in America.

Robert W. Miles has a master’s degree in English, a library science degree, and many years experience in writing the music for musical theater works that have been produced in regional theaters throughout the United States. He has published many reviews of books about music in The Sewanee Review and has published articles on music in The New Republic. He is also the author of Bootleg Music and Other Stories from Sunstone Press. Miles is the son of the late Reverend Robert Whitfield Miles, DD, twenty-five of whose sermons were published by Sunstone Press under the title Eyes Forward: Messages for Today from Yesterday. He lives in Santa Fe, New Mexico.

Softcover:
6 X 9
ISBN: 978-0-86534-268-2
124 pp.,$19.95

eBook:
ISBN: 978-1-61139-252-4
124 pp.,$4.99

This travel memoir, about a group of college buddies exploring 1963 Europe, provides the backdrop for a journey of self-discovery that ignites the bonds of friendship that will last a lifetime.

They wore white shirts, dark suits, some had crew cuts...all found themselves adrift in a strange new world. Five American college boys, for some their first time outside of their native Illinois, squeezed into a Volkswagen in the summer of l963. Minus the technical wizardry of GPS, smartphones, and today’s numerous apps, they took off—as novices—relying on the now outdated services of the American Express office for news from home. Little did they know that their journey through post-war Europe would provide a treasure-trove of experiences that would have a lasting influence on their lives. This one trip not only opened their eyes to the culture, tastes and customs of Europe, but it became the source of laughter, shared memories and multiple group reunions for decades to come. The five guys came of age that summer. All became folks you would like to know and be friends with.

Thomas Tierney is a composer-lyricist. He wrote the music for ELEANOR—An American Love Story at Ford’s Theatre in Washington and many other U.S. theatres—and NARNIA, based on The Lion, the Witch and the Wardrobe (London and New York—and more than 1000 productions worldwide). His musical The Year of Living Dangerously was produced in concert by Manhattan’s popular nightclub Feinstein’s/54 Below and in 2020 it was live-streamed. Other shows: Jungle Queen Debutante (New York’s NAMT Festival and Seattle’s Village Theatre in Issaquah); Off-Broadway’s Pets!; The Dream Team at Goodspeed Opera; Tommy Tune’s one-man musical Ichabod; Diamond and the North Wind; and ZACK HILL and the Rocket Blaster Man Adventure. He composed six shows for TheatreWorks/USA and AT&T’s theme song for Disney’s EPCOT Center. For TV he did the music for two episodes of NBC’s Emmy Award winning Unicorn Tales and he has written many corporate shows. Tom has performed his own music at Lincoln Center and at the White House and has won numerous ASCAP awards.

Maureen A. Tierney began life in New York’s Greenwich Village and remains true to her New York roots. She started her business career as an Editor at AT&T for an employee magazine. Maureen graduated from Pace University and went on to become a District Manager at AT&T, a Dean at Fordham University Graduate School of Business and headed her own management consulting company for fifteen years. She met Tom considerably after his travels abroad. They have been married for some forty plus years. It has been a joy for her to help bring this travel journal to life.

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Softcover:
8.5 x 8.5 Illustrated
ISBN: 978-1-63293-348-5
258 pp.,$35.00

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Cloggers and sopranos, contortionists, Indian Club Swingers, ticket-of-leave men and ladies of the night, shepherds, saints, and devils—these are a few of the characters portrayed in the early amateur theatrical productions of Las Vegas, New Mexico, and nearby Fort Union. Between 1871 and 1899, this area hosted no fewer than eleven amateur acting troupes, an opera company, and an oratorio society. These home grown thespians performed both secular and non-secular plays in Spanish and English as well as musicals, variety acts, passion plays, and light operas. They played in courthouses, private salas, grand opera houses, and performance halls that were occasionally stocked with hay and grain. The amateur troupers strutted their stuff before farmers, outlaws, hooligans, soldiers, and the local aristocracy.

Between 1883 and 1886, the enlisted men of Fort Union formed several amateur companies and performed at the garrison. One group took its show on the road and played to Las Vegas audiences. During this brief period, fierce loyalties arose and a vicious rivalry played out in the pages of the Las Vegas newspapers. Entertainment of all sorts was an integral part of the booming western frontier. Although professional traveling troupes came by wagon and train, the homegrown companies—made up of butchers, seamstresses, homemakers, business leaders, and politicians—always drew large audiences. Footlights in the Foothills provides an overview of these amateur theatrical companies—the players, the plays, and the venues—in addition to stories of the social ties formed by the people who offered their talents and bared their egos to the audiences of "one of the hottest towns in the country."

Edwina Portelle Romero first researched the amateur acting companies of Las Vegas in 1982 when writing publicity for The Las Vegas Players, a community theatre group. Since then, she earned a Master's Degree from New Mexico Highlands University and a Doctorate from The University of New Mexico. She has published personal and scholarly essays, short fiction, and historical articles. Once an amateur performer, Romero experienced, first hand, the camaraderie and support such groups offer their members.

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Softcover:
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ISBN: 978-0-86534-826-4
98 pp.,$16.95

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No business plan, focus group, or grant request preceded the birth of the Santa Fe Community Orchestra. A couple of amateur musicians, who didn’t know that starting an orchestra might be difficult, found a willing conductor, recruited a few friends, and made it work. Over the course of 25 years the orchestra has played a hundred concerts and found a place in the musical life of Santa Fe. This is its story.

Like most members of the Santa Fe Community Orchestra (SFCO), Jim Preus’s avocation has been music. And like other members, music is a very important part of his life. His instrument, the bassoon, is not a party instrument or one to entertain around a campfire; it requires the interaction with other instrumentalists, most appropriately in a symphony orchestra. That makes the SFCO a very important organization to him and the other members of the orchestra.

Jim has an undergraduate degree in music education and a Ph.D. in counseling psychology from the University of Minnesota. Now retired, for most of his professional life he was an administrator at the University of Minnesota. Playing in an orchestra, in musicals, and in chamber music were all part of his avocational life. The availability of a community orchestra was a factor in moving to Santa Fe, and so this book is payback for the existence of that opportunity.

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Softcover:
6 X 9
ISBN: 978-0-86534-659-8
136 pp.,$16.95

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Left Early, Arrived Late conveys an unconventional biography of an unconventional woman. Marcia Muth, Memory Painter, emerges through a series of scenes from her life, a long life that began in 1919. “It was a good childhood,” Muth says, reflecting on her early years. But her perspective is at odds with the “good childhood” prescribed by most theories of human development. For that reason, James Hillman’s myth-enriched book, The Soul’s Code, serves as guide for this tale of a remarkable artistic life. Hillman tells us that each soul has an accompanying daimon that knows that soul’s destiny and that serves as its impetus. A life such as Muth’s, that has consistently run counter to typical roles and expectations--of children, of females, of career development, of most of Muth’s contemporaries--lends credence to the notion that norms are meaningless when applied to individuals.

Muth, accurately described at various points in her life as odd child, ward of the state, professional librarian, poet, entrepreneur, Jew, estranged daughter, mentor, caretaker, visionary, Living Treasure, and Memory Painter, permitted extensive interviews for this book. Friends and acquaintances from throughout her life also provided important information. Her art and her poetry tell parts of her story and photographs trace the subject of the scenes through her years. The result is Left Early, Arrived Late, a biography that is uncommon, as is its subject, Marcia Muth, Memory Painter.

Teddy Jones writes about women, particularly women whose lives allow readers to view the uncommon in the ordinary. She lives and works in the settings she enjoys most--rural West Texas and New Mexico.

Jones’ website, www.tjoneswrites.com, includes additional material created in response to her acquaintance and friendship with Marcia Muth. More scenes, a series of imaginary art works created as a result of writing Left Early, Arrived Late--Scenes from the Life of Marcia Muth, Memory Painter, invite readers to enter a tour of Muth’s life through visualization and questions that prompt further exploration.

Jones is also the co-author of A Stone for Every Journey and 100 Doses, a finalist in the 2007 New Mexico Book Award competition. Both books are published by Sunstone Press.

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Softcover:
6 X 9
ISBN: 978-0-86534-665-9
160 pp.,$19.95

The Story of the International Association of Theatre for Children from 1991 to 2005.

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In June 1965 a group of dedicated professional artists of the theatre met in Paris, France to create the International Association of Theatre for Children and Youth (ASSITEJ). Four days later ASSITEJ was born, and its story began in Volume I (1964-1975) of this history. Now Volume III covers the years from 1991 to 2005, a period of ASSITEJ’s greatest growth, a period of rededication to the Association’s original ideals and purpose, and a world-wide expansion under new leadership. The Secretariat also entered the current world in terms of communication and committee activity. ASSITEJ now has over 80 national centers around the world. Its Secretariat is currently in Croatia, and the 15 members of its current Executive Committee (2011-2014) come from Argentina, Australia, Austria, Cameroon, Croatia, Germany, Iceland, India, Japan, Mexico, Russia, Serbia, South Africa, United Kingdom, and USA. Volume III completes this History of the first forty years of the existence of ASSITEJ.

NAT EEK, PhD is a Regents Professor Emeritus of Drama, and Dean Emeritus of Fine Arts at the University of Oklahoma. He was personally involved in the first ten years of ASSITEJ, as a member of the Executive Committee, a Vice-President, and ultimately its President. He was named Honorary President of ASSITEJ. He has attended all the International Congresses of this History with the exception of the Moscow Congress in 1984.

KIM PETER KOVAC, an MFA graduate of the University of Texas - Austin, is Producing Director of the Kennedy Center Theater for Young Audiences in Washington, DC, which commissions, produces, and presents productions for young audiences. Since 2002 he has been on the Executive Committee of ASSITEJ/Int’l serving as Vice-President. He has conducted seminars on TYA both nationally and internationally. In 2011 he co-founded Write Local. Play Global, an international network for playwrights for young audiences, which presently has over 500 members in 64 countries.

KATHERINE KRYZS is the Curator of the Child Drama Collection and Theatre Specialist for the Arizona State University Libraries, where the archives of ASSITEJ/USA and personal documentation about ASSITEJ are held. Her archival training includes The Modern Archive Institute at the National Archives in Washington, DC. She has also attended several of the International Congresses.

Softcover:
6 X 9
ISBN: 978-0-86534-987-2
438 pp.,$29.95

In the film “De-Lovely,” Cole Porter admonishes the chorus of “Kiss Me Kate” to snap out their consonants. This book is not only about consonants, but also about vowels, breathing, round sounds and head tones--just a few of the many techniques discussed that will improve your singing in a choir or chorus or any group. It is written with the amateur in mind, but it is just as valuable for the professional. A brief history of choral singing from prehistory to the 21st Century is included.

GERALD G. HOTCHKISS has sung in Christian and Jewish choirs, choruses, in octets, quartets, duets, barbershop, madrigals and Broadway reviews under many of the finest conductors in the United States as an amateur for more than sixty years.

Website: http://books.google.com/books?id=IRM_woq6bSQC

Softcover:
6 X 9
ISBN: 978-0-86534-449-5
108 pp.,$18.95

eBook:
ISBN: 978-1-61139-490-0
108 pp.,$3.99

Illustrated with things to color, word games, puzzles, and cut-outs.

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This introduction to Mozart and his operas is ideal for children of all ages. The book includes musical games and puzzles as well as pages to color. Readers will learn about opera, music, the orchestra, opera singers, and especially about Wolfgang Amadeus Mozart. There are pages devoted to each of Mozart’s operas, a diagram showing the instruments in an orchestra, and a page with the notes to his “Minuet in G” that he composed in 1761 at the age of five. Ideal for teachers and all readers.

Website: http://books.google.com/books?id=I5U9AuPTMkcC

Softcover:
8 1/2 x 11
ISBN: 978-0-86534-092-3
30 pp.,$12.95

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A quality piano is one of the most expensive investments you will ever make. Yet most people know little about it. Have you ever wondered:
• Why does a piano go out of tune?
• How do I clean my piano?
• How do I fix a sticky key?
• How do I protect my piano from moths, humidity, and climate changes?

A piano technician with over thirty-five years experience now unveils the mystery of the piano and shares his secrets with you. In this simple guide and reference, you will discover how to protect your investment and save money by doing simple repairs yourself. There are easy to follow step-by-step instructions for piano maintenance and twenty-one easily understood illustrations drawn with the layman in mind.

A MUST for every piano owner, to be kept and used for generations.

STEVEN R. SNYDER has tuned, repaired, rebuilt, and refurbished pianos for over thirty-five years. He began working on pianos as a child, helping his father, a qualified piano technician. Steven financed his college education tuning pianos and after graduating from Boston University moved to New York City where he became one of the top technicians at Steinway & Sons Piano Company. In addition to concert work, he continued to perform piano service for many concert artists and Manhattan recording studios including CBS, Town Hall, and Carnegie Hall, as well as Lincoln Center.

During this time, Snyder was contracted by recording artist Stevie Wonder as his exclusive piano tuner-technician and when Mr. Wonder moved his recording studios from midtown Manhattan to Los Angeles in 1977, Steven relocated to Los Angeles and continued working with Mr. Wonder for the next ten years. During this time, Snyder also tuned, voiced, regulated, and reconditioned pianos for hundreds of professional clients including Bob Dylan, Dave Brubeck, Burt Bacharach, Garrick Ohlsson, and Mehli Mehta, conductor of the UCLA Youth Symphony Orchestra. Concert work spanned the Hollywood Bowl, the Mark Taper Forum, and the Dorothy Chandler Pavilion. Studio work covered Paramount Studios, Universal Studios, and 20th Century Fox Music, as well as many other concert venues across the country.

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Softcover:
8 1/4 X 11
ISBN: 978-0-86534-514-0
96 pp.,$20.95

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KUHT-TV in Houston, Texas was the first non-commercial, educational television station. This is the story of its development and struggle for survival.In the history of broadcasting and education, the evening of May 25th, 1953 was highly significant—KUHT-TV in Houston, Texas became the first non-commercial, education (now called public television) station. At its dedication Federal Communications Commissioner Frieda B. Hennock said: “For here in Houston begins the practical realization of the tremendous benefits that television holds out to education…. The accumulated riches of man’s education, cultural and spiritual development can be spread right before the viewers’ eyes in a convenient and attractive format. In fact, the sky of man’s constructive imagination is literally the only limit on the good that can be derived from education TV.” This is the story of the development of Channel 8 from its origins to CEO Jeff Clarke’s plan for 2000. The LeRoy and Lucile Melcher Center for Public Broadcasting is the realization of the plan.

William Hawes holds a doctorate from The University of Michigan and taught a telecourse for college credit as early as 1959. Since moving to Texas, he has known most of the principal decision-makers at KUHT and many other pioneers of public broadcasting. Dr. Hawes is also the author of American Television Drama, The Experimental Years, Live Television Drama, 1946–1951, and Filmed Television Drama, 1952–1958.

Website: http://books.google.com/books?id=trFBm32BxQMC

Hardcover:
6 x 9
ISBN: 978-0-86534-245-3
160 pp.,$24.95

Softcover:
6 x 9
ISBN: 978-1-63293-107-8
160 pp.,$22.95

eBook:
ISBN: 978-1-61139-601-0
160 pp.,$6.99

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Honoring the fiftieth anniversary of the Santa Fe Opera, this is a portrait of a pioneering American company that is recognized as one of today’s most important international festivals. The Santa Fe Opera was founded with the idea of establishing an American style of opera. From the beginning, the company was forward-looking and modern in spirit, championing young American singers and new operas, and focusing on innovative repertory and theatrically-driven productions. With its stunning open-air theater set in the spectacular landscape of northern New Mexico’s high mountain desert, it has become a place of pilgrimage--a destination for performers and audiences alike. The Santa Fe Opera’s commitment to the operas of our own time was launched the very first season, when it began a close relationship with Igor Stravinsky. Over the years, it has given the American premieres of major landmarks, including Alban Berg’s Lulu, six operas by Richard Strauss, Janacek’s The Cunning Little Vixen, works by Heitor Villa-Lobos and Dmitri Shostakovich, six new operas by Hans Werner Henze, and Kaija Saariaho’s award-winning L’amour de loin. It commissioned Luciano Berio’s avant-garde classic, Opera, and Tobias Picker’s Emmeline. Some of the most celebrated singers of the past half century began their careers in Santa Fe, many of them emerging from its ground-breaking apprentice program, which has trained a new generation of opera stars. This is the story of a trailblazing company that, in just fifty years, has changed the musical map of America.

PHILLIP HUSCHER has been the program annotator for the Chicago Symphony Orchestra since 1987. He studied piano at the Aspen School of Music and music history at the University of Chicago. A former music critic, he was a contributing editor for "Chicago" magazine for more than a decade. He has written liner notes for Grammy® Award-winning recordings, scripts for PBS concert telecasts, and program notes for many organizations, including the Santa Fe Opera.

Website: http://www.santafeopera.org

Hardcover:
10 1/2 X 10 1/2
ISBN: 978-0-86534-550-8
200 pp.,$45.00

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Settling Scores: A Life in the Margins of American Music details one life lived in the margins of America’s musical consciousness. From a working-class background in gritty North Philadelphia to the sanctity of European concert stages, from imagined dangers lurking along the waterfronts in mysterious Asian cities to the real dangers lurking in the narrow minds of those who uphold the status quo in American music, this book reveals the life of one who embraced change, and, in the process, gained political leverage and intellectual freedom. It is the story of Joseph Franklin and a legion of collaborators, and it is a snapshot view of a slice of America’s musical landscape in the final quarter of the 20th century, including a history of Relâche and The Relâche Ensemble.

Born in Philadelphia, JOSEPH FRANKLIN is a graduate of the Philadelphia Musical Academy and Temple University’s Graduate School of Music. He has composed works for mixed instrumental/vocal ensembles, film, video, theater and dance. In 1977 he co-founded The Relâche Ensemble, which evolved into Relâche, Inc. a presenting and producing organization in support of the Relâche Ensemble. He served as founding executive and artistic director of Relâche until 1998. Independently, and as Director of Relâche, he has been a producer of concerts, festivals, recordings, radio programs, residency programs, international tours and other related music events, including the NEW MUSIC AMERICA 1987 Festival, NEW MUSIC AT ANNENBERG at The University of Pennsylvania and MUSIC IN MOTION, a nationwide audience development project. He formerly served as Artistic Director for Helena Presents--The Myrna Loy Center, a performing arts and film center located in Helena, Montana. He has published criticism and book reviews in the Philadelphia Inquirer and Philadelphia City Paper. While living in Louisiana he developed and taught courses in arts administration and an overview of 20th century music at the University of New Orleans while serving as an independent consultant to arts organizations. He currently serves as executive director for Chamber Music Albuquerque, a presenting organization dedicated to presenting world-class chamber music ensembles in concert.

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Hardcover:
6 X 9
ISBN: 978-0-86534-478-5
310 pp.,$29.95

Softcover:
6 X 9
ISBN: 978-0-86534-477-8
310 pp.,$24.95

“An absolutely fascinating and very special ‘time-lost’ treasure, this is a unique and unreservedly recommended addition to personal, professional, community, and academic library American Music History collections in general, and Hispanic/American music supplemental studies reading lists in particular.” —The Midwest Book Review

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In 1933, newly elected President Franklin Delano Roosevelt summoned ideas that might allay the financial calamity that characterized the Great Depression of the 1930s. Among the myriad programs Roosevelt initiated was the WPA, the Works Progress Administration (later re-named the Work Projects Administration) that was created to provide meaningful work to the unemployed millions throughout America. Thanks to New Mexico Governor Clyde Tingley, a masterful politician who wended his way into Roosevelt’s good graces, New Mexico became the recipient of a significant proportion of federal WPA funding that supported thousands of otherwise unemployed men and women. One of the great programs to emerge was in support of the arts, and many painters, writers and musicians were employed to pursue their respective art forms.

Helen Chandler Ryan was appointed director of the Federal Music Project (FMP) in New Mexico that lasted from 1936 to 1943. In 1939, it was re-named the New Mexico Music Project, and by 1942, the name was changed yet again to War Services Program—Music Phase. The focus of this project was “music education, performance, and preserving of local musical heritage, especially Hispanic [Hispano] folk music.” Under Ryan’s direction and that of her co-administrators, musicians and folklorists collected songs and other material that otherwise might have been lost.

The transcribed folk songs were mimeographed and distributed to teachers who taught both singers and instrumentalists who then presented the music in public performances. This music project not only funded fieldworkers, it also brought music to the people of the villages of New Mexico in a time when little else was available to lift the hearts of la gente.

In this book, materials collected between 1936 and 1941 are assembled in five separate units. Units 1, 2, and 3 are comprised of a series of Hispano folk songs with transcribed melodies and English translations of lyrics. Unit 4 is a collection of thirty Hispano dance songs, some of which remain popular even now. Unit 5 is entitled “Guitar Arrangements of Spanish American Folk Songs.”

We are fortunate to have this taste of Hispano music of New Mexico from the early twentieth century now available to all. It is integral and vital to the repertoire of musical lore that greatly enhances New Mexico’s heritage.

On the Cover: “Leisure Hour” by Joseph Fleck from A More Abundant Life, New Deal Artists and Public Art in New Mexico by Jacqueline Hoefer, published by Sunstone Press.

Hardcover:
8 1/2 X 11 Illustrated
ISBN: 978-1-63293-181-8
222 pp.,$34.95

Softcover:
8 1/2 X 11 Illustrated
ISBN: 978-1-63293-180-1
222 pp.,$24.95

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As both a producer and director, Merrill Brockway pioneered dance on television on the Emmy Award-winning PBS series, Dance in America. Through this series and CBS’ Camera 3, Brockway brought the performing arts to the “vast wasteland” of television in its early years. Working with the greatest artists of the day, including Pierre Boulez, George Balanchine, Martha Graham, Eugene Ormandy, Stella Adler, Agnes de Mille, Ruby Dee, Merce Cunningham and others, Mr. Brockway brought high art into the homes of the average American.

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Softcover:
6 x 9
ISBN: 978-0-86534-748-9
208 pp.,$19.95

eBook:
ISBN: 978-1-61139-028-5
208 pp.,$4.99