Contemporary American Composers: Being a Study of the Music of This Country, Its Present

The Story

The narrative begins with a bold rejection of the cultural inferiority complex that long haunted American musical life. The author posits that the history of music in the United States has been a quiet, misunderstood evolution, fostered by a small group of devoted composers who worked largely in isolation. While the public looked toward the Old World for validation, these pioneers labored under the heavy shadow of German academicism, struggling to break free from the "empty, incorrect period" of the past and the "namby-pamby" flower-dramas that dominated contemporary song-writing. The story of American music is, therefore, the story of this internal migration—from slavish imitation of foreign models toward a more confident, individualistic expression.

The journey continues by evaluating the specific contributions of composers who dared to experiment. We follow the work of figures like Edward MacDowell, whose piano sonatas, particularly the third, demonstrate a "musical thinker" capable of weaving epic, barbaric grandeur into the classic sonata form. The argument shifts to the whimsical and the dramatic, highlighting the pantomimes of Harvey Worthington Loomis, whose mastery of musical symbolism and witty, graphic programming suggests a burgeoning American sense of humor that is finally beginning to manifest in sound. This represents a critical pivot: the realization that the "most jocose of races" is finally finding its voice, moving away from mere fantasy and toward a uniquely American hilarity.

The narrative arc then moves into the domain of the sacred and the grand, where composers like John Knowles Paine tackle the massive scale of Greek tragedy and patriotic cantata. Here, the struggle is between the desire for genuine, epic inspiration and the danger of falling into "nauseating bathos." Paine’s success in setting Sophokles is framed as a triumph of musical architecture, proving that American composers could handle the weight of the ancients without sacrificing their own burgeoning identity. This section acts as a bridge, moving from the intimate, domestic sphere of parlor songs into the concert halls where the symphony and the choral work redefine the American artistic landscape.

As the text progresses, it examines the "colonies" of composers—the regional hubs like New York, Boston, and San Francisco. It argues that artistic progress cannot flourish in a vacuum; it requires a "ganglion" of creators to argue, share, and cultivate their craft. The narrative portrays New York as a fickle, if essential, center, while acknowledging the vital work coming out of the Midwest and the West. We see a portrait of a fragmented, vibrant scene where the influence of Dvorak and other European masters is felt, yet transformed through the lens of local experience. The struggle for identity becomes clearer: the goal is not to abandon all foreign influence—for "any decent music" should show the traces of the great traditions—but to stop using those traditions as a hiding place for mediocrity.

Finally, the book turns to the role of women in the American musical canon, noting their significant contributions in an era that frequently overlooked them. Figures like Mrs. H.H.A. Beach are presented as titans of scholarship and energy, whose symphonies and songs display a technical mastery that rivals their male counterparts. The conclusion of this study is not a definitive statement of arrival, but a hopeful assessment of a process in motion. It argues that the "empty" period is over and that the American composer has emerged from the "wilderness" of imitation, finally standing on the cusp of an original era. The story ends on a note of anticipation, looking toward a future where the American voice is no longer a secret, but a recognized, powerful participant in the world’s artistic dialogue.

The People

• Edward MacDowell: The central figure of the study, he represents the mature artistic ideal. He is a "musical thinker" who successfully bends the classical sonata form to serve his own poetic and nationalistic ends, moving beyond simple imitation to create work of "barbaric grandeur."
• Harvey Worthington Loomis: A pioneer of American wit and theatricality. He stands out for his ability to inject humor and "graphic programmism" into his music, successfully moving away from the "namby-pamby" sentimentality that the author finds so pervasive and tiresome in other contemporary work.
• John Knowles Paine: The architect of the grand scale. He represents the composer who can handle the immense weight of classical subjects, such as Sophokles, and emerge without falling into bathos. He is the bridge between traditional academic rigor and the new American epic.
• Mrs. H.H.A. Beach: A primary case study in the power and "exuberant scholarship" of female composers. Her work, including her "Gaelic Symphony," challenges the reader to look past gendered assumptions to appreciate the sheer technical facility and energy of her compositions.
• Frank van der Stucken: The dedicated advocate. While his own heritage is European, he is defined by his "ardor for native music." He serves as a crucial figure who uses his influence to champion the work of other American composers, helping to create the necessary "colonies" for artistic growth.

In Its Own Voice

The author sets the stage for his critical assessment of the American composer by emphasizing the importance of being open to new, native beauty rather than relying on established foreign labels:

"And yet, even worse than this languorous inanition is the active policy of those who despise everything contemporary or native, and substitute sciolism for catholicity, contempt for analysis."

In his analysis of the piano sonatas of Edward MacDowell, the author highlights the composer’s ability to evoke a specific, powerful atmosphere that transcends traditional piano literature:

"The atmosphere of mystery and barbaric grandeur is obtained and sustained by means new to piano literature and potent in color and vigor."

Reflecting on the often-criticized state of contemporary song-writing, the author identifies a specific, frustrating trend he hopes to see the new generation of composers abandon:

"There has been a persistent craze among native song-writers for little flower-dramas and bird-tragedies, which, aiming at exquisiteness, fall far short of that dangerous goal and land in flagrant silliness."

What It's Really About

At its core, this book is a polemic against the provincialism of the American musical audience. It operates on the premise that a national music is not something that can be legislated or imported; it must be grown through the sustained, often thankless labor of individual artists. The author’s central argument is that the United States has reached a threshold where the "empty, incorrect period" of imitation is giving way to a period of genuine, individualistic creation. He questions why a nation capable of producing an original school of humor in literature has been so slow to demand that same spirit in its musical compositions.

The work functions as an inquiry into the nature of artistic influence. The author does not call for a total rejection of European models—he explicitly notes that any "decent" modern music must show the traces of masters like Wagner or Grieg—but he is deeply suspicious of the "faithful discipleship" that characterized early American composition. The conflict between "academic content" and "original expression" is the primary tension that drives the book. The author is constantly evaluating whether a composer is simply executing a textbook exercise or actually manifesting a "stamp of their own."

Another profound theme is the importance of the artistic "colony" or "ganglion." The author argues that art cannot flourish in isolation. This perspective provides a fascinating look at the sociology of the arts in the 1900s, suggesting that cities like New York and Boston were necessary, if often frustrating, environments for the development of a distinct, cohesive musical culture. The book asks what it means to be a "native" composer in a country that is physically vast but culturally fragmented. By examining the regional distribution of talent, the author reveals an America that is searching for a center that can hold, ultimately concluding that the national spirit is too "insubordinate" to be governed by a single oracle.

Finally, the book deals with the tension between the "serious" and the "trivial." The constant critique of "namby-pamby" music suggests a deeper cultural concern about the American character. The author clearly believes that music should reflect the actual human experience—including tragedy, humor, and struggle—rather than retreating into a safe, decorative prettiness. He advocates for a music that is "stout," "fierce," and "epic," reflecting a belief that the maturity of a nation’s art is inextricably linked to the maturity and depth of its emotional life.

Why Read It Today

Readers who appreciate the history of ideas will find this book particularly rewarding. It provides an unvarnished, direct look at the musical consciousness of 1900, capturing the specific anxieties and hopes of an era that believed it was on the verge of a cultural awakening. The tone is bracingly candid; the author does not shy away from calling out "trashy" songs or "namby-pamby" compositions, and his willingness to praise or condemn with equal vigor makes for an engaging, opinionated reading experience.

Those who love the stories of "lost" artists will appreciate the inclusion of composers who were once vibrant, active figures but have since faded from the common repertoire. The prose is warm and precise, lacking the sterile, dry academicism that often accompanies historical surveys. It feels like a long, spirited conversation with an expert who is truly passionate about his subject and is determined to share his list of unsung heroes with you.

However, the modern reader should be prepared for the period-specific attitudes embedded in the text. The author’s language reflects the social and cultural biases of the late nineteenth century, including his discussions of national character and the occasional reliance on racialized descriptions of musical tone. These passages serve as a historical document of their own, illustrating how artists of the time categorized sound through the lenses of their era. Additionally, the book’s structure is dense with names and opus numbers; it is not a narrative that drifts leisurely, but one that is packed with technical detail and biographical snapshots.

Ultimately, what stays with you is the author’s contagious enthusiasm for the "plodding composers" who labored to create something honest. It is a book that reminds us that culture is something built, piece by piece, through work that often goes unheeded by the majority. If you have an interest in how a nation finds its voice, or if you simply enjoy the vigor of a dedicated critic, this work offers a compelling window into the past.