Making Light<subtitle>Haydn, Musical Camp, and the Long Shadow of German Idealism</subtitle>

Abstract

I have been extremely lucky in my intellectual and musical associations, a great many of which have embedded themselves into the arguments of this book. These really began with Robert Rubinstein, whose enthusiasm and insights first led me to discover how unusual and dependably rewarding a composer Haydn was. George Parish, Howard K. Smither, and R. Larry Todd guided my early work on Haydn while still a gradu ate student, and much of their influence has filtered its way into this book. My ucla colleagues Robert Martin, Elisabeth Le Guin, Tom Beghin, and Peter Reill, in association with the Clark Library at ucla, were my collaborators on two exceptionally motivating symposia, in 1994 and 2001, that productively combined per for mance with scholarship, and which led to core discussions in chapters 2 and 3. Mitchell Morris, through his exciting work on musical camp and German Idealism, his unabashed focus on the pleasures that popu lar music affords, and his continued presence as an interlocutor par excellence, has been both an instigator and a sustaining spirit throughout. Steven Baur's work on the fold between popu lar and concert music in the United States during the nineteenth century was inspirational, and his continuing generosity in providing feedback for my own work in that area invaluable. Robert Fink's pioneering work on Gilbert and Sullivan, and continuing shared enthusiasm for their work, has been both energizing and helpful. The spirit of Elijah Wald's bracing reconsideration of the histories we habitually tell about popu lar music, and the many conversations we shared while he undertook that work at ucla, Acknowl edgmentsxviii § acknow l edgmen t s hovers over much of the later stages of this proj ect. Peter Broadwell's pioneering dissertation on musical pirates was a terrific spur to my related work in chapter 4, and he has been unfailingly generous as a con sultant; indeed, even his re sis tance to my exhortations to include Gilbert and Sullivan's Pirates of Penzance in his dissertation proved a useful goad. And I would be remiss if I did not point out the obvious, that Susan Mc-Clary, in helping transform the field of musicology and, more particularly, ucla's Department of Musicology, was essential to this proj ect's inception and much of its early execution.My more specific thanks go to Mitchell Morris, especially for his feedback regarding chapters 1, 4, 5, and 6, as well as extended discussions about nearly every thing else in the book; to Elisabeth Le Guin for her responses to chapters 2 and 3; to Susan McClary and Mark Martin regarding chapter 1; and to Sarah Ellis, Sam Baltimore, Steven Baur, Stephen Pysnik, and Arreanna Rostosky for their crucial feedback on chapter 4. Members of the Musical Theatre Forum have also helped me shape some parts of chapter 4; among this stimulating group, I thank especially Stacy Wolf, Carol Oja, David Savran, and Elizabeth Wollman, for their encouragement and astute criticism. Over the years, I have subjected several of my seminars to parts of chapters 1 and 4, a...