Mark A Clague
University of Michigan, Musicology, Faculty Member
- An Associate Professor (with tenure) at the University of Michigan School of Music, Theatre & Dance, Mark Clague, Ph.... moreAn Associate Professor (with tenure) at the University of Michigan School of Music, Theatre & Dance, Mark Clague, Ph.D. (University of Chicago, 2003) is a musicologist focusing on music of the United States of America with interests in the social function of music. His research interests include musical institutions and business history (symphony orchestras), entrepreneurship, patriotic song, and the music of George and Ira Gershwin. He serves as editor-in-chief of the U-M George and Ira Gershwin Critical Edition and director of the U-M Gershwin Initiative. He also serves as Director of Entrepreneurship and Career Services for the directs the EXCEL (Excellence in Entrepreneurship, Career Empowerment, and Leadership) Program for U-M's School of Music, Theatre & Dance.edit
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That patronage remains a critical contemporary concern, not merely a topic of historical interest, is illustrated in Clague's case study from the twenty-first century. He begins with an extensive survey of the aesthetic principles... more
That patronage remains a critical contemporary concern, not merely a topic of historical interest, is illustrated in Clague's case study from the twenty-first century. He begins with an extensive survey of the aesthetic principles found in earlier European and American commentaries in order to review the idea of a compositional “school” itself; he then focuses his discussion on the Atlanta school of composers and the work of Atlanta Symphony conductor Robert Spano. Clague traces Spano’s strategic commissioning principles as well as the tactics used to introduce new music to new audiences, while also offering insight into the creative power of institution building through community engagement.
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... 3. Mark Clague: "Utilization of learning principles and the impact on peda-gogy in a musicology class" 4. Maud Hickey: Response, "Identification f ... to do this stuff?" The concept of "motivation" in the... more
... 3. Mark Clague: "Utilization of learning principles and the impact on peda-gogy in a musicology class" 4. Maud Hickey: Response, "Identification f ... to do this stuff?" The concept of "motivation" in the theory classroom has been explored by Elizabeth West Marvin, who suggests ...
16 Real-World Musicology: Integrating Entrepreneurship throughout the Music Curriculum and Beyond Mark Clague A frequent critique of classical music, perhaps most noticeably the sym-phony orchestra, is that it is elitistdetached from the... more
16 Real-World Musicology: Integrating Entrepreneurship throughout the Music Curriculum and Beyond Mark Clague A frequent critique of classical music, perhaps most noticeably the sym-phony orchestra, is that it is elitistdetached from the real world. This cri-tique is ...
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Composer and critic Virgil Thomson (1896-1989) is known for extending the genre of musical portraits by having his subjects "pose" nearby as he sketched in sound. He composed around 150 such musical likenesses, exploring not... more
Composer and critic Virgil Thomson (1896-1989) is known for extending the genre of musical portraits by having his subjects "pose" nearby as he sketched in sound. He composed around 150 such musical likenesses, exploring not only characterization but a personal ...
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Jimi Hendrix's 18 August 1969 performance of “The Star-Spangled Banner” at the Woodstock Music and Art Fair has been characterized as an expression of transcendent political resistance as well as crude anti-U.S. drivel. Drawing on... more
Jimi Hendrix's 18 August 1969 performance of “The Star-Spangled Banner” at the Woodstock Music and Art Fair has been characterized as an expression of transcendent political resistance as well as crude anti-U.S. drivel. Drawing on Hendrix's own archive of recordings, writings, interviews, stage banter, and especially live performances, this article analyzes Hendrix's artistic engagement with the United States national anthem by locating his Woodstock Banner as a central moment in a two-year fascination with the song, brought to a close only by Hendrix's untimely death. It presents the anthem as an artistic vehicle for Hendrix's political musings, a thoughtful engagement with current events, and as commentary responsive to Hendrix's immediate environment and expressive of his aspirations for the nation of his birth. Insights offered here include the roots of Hendrix's Banner performances as ornaments to the Civil War eulogy “Taps,” the plural construction ...
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There must have been a moment during the transfer ceremony when no flag waved over the Virgin Islands. A moment that captured, on one hand, the uncertainty, ambiguity, and fear created by the exchange and, on the other, the economic... more
There must have been a moment during the transfer ceremony when no flag waved over the Virgin Islands. A moment that captured, on one hand, the uncertainty, ambiguity, and fear created by the exchange and, on the other, the economic opportunity and social potential it ...
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From the Michigan Quarterly Review (Fall 2010) and online at http://hdl.handle.net/2027/spo.act2080.0049.406. Essay argues that Motown's political engagement pre-dates and contradicts Marvin Gaye in his auto-biography Divided Soul... more
From the Michigan Quarterly Review (Fall 2010) and online at http://hdl.handle.net/2027/spo.act2080.0049.406. Essay argues that Motown's political engagement pre-dates and contradicts Marvin Gaye in his auto-biography Divided Soul that Berry Gordy and Motown categorically avoided controversial subjects for business purposes before Gaye's pioneering album "What's Going On" (1971). Instead Motown used a scattershot approach to examining contemporary life of American youth that intersected issues such as the military draft, John F. Kennedy's assassination and legacy, civil rights, and even inter-racial love from 1961 forward. Based on a review of all releases of 45 rpm singles, interviews, and archival documents, this essay documents the role of white publicist Alan Abrams at the company and discusses his publicity stunt in support of white soul singer Tommy Good -- the March on Hitsville.
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An exploration of musical notation as portraiture especially in the ideologically charged arena of critical editions with a focus on the American monuments series--Music of the United States of America (MUSA).
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An exploration of race and representation in Disney's Fantasia (1940)
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This paper explores the earliest attempts to create a professional orchestra in Chicago. It proposes a system of six organizational types distilled from these early efforts to suggest both that today's non-profit orchestras are built from... more
This paper explores the earliest attempts to create a professional orchestra in Chicago. It proposes a system of six organizational types distilled from these early efforts to suggest both that today's non-profit orchestras are built from these earliest experiments and that today's orchestras carry the burdens and insights of these early structures into the present day in such effects as the exclusion of musicians from most organizational decision making. This essay is ch. 1 in the book American Orchestras in the Nineteenth Century, edited by John Spitzer (Univ. of Chicago Press, 2012).
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An exploration of band music on the Virgin Islands at the time of their purchase by the United States, focusing on the band led by Alton Augustus Adams. This juvenile band was inducted into the navy creating a remarkable and exceptional... more
An exploration of band music on the Virgin Islands at the time of their purchase by the United States, focusing on the band led by Alton Augustus Adams. This juvenile band was inducted into the navy creating a remarkable and exceptional African American unit of Navy musicians at the time that segregationist policy in the U.S. military prevented blacks from being musicians. This paper focuses on the impact of the band's work as a cultural bridge between the white naval administration and the largely black populace of the islands up through the ensemble's 1924 tour of the U.S. mainland. Black Music Research Journal Vol. 18, No. 1/2 (Spring/Fall 1998), pp. 21-65.
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This essay explores the pedagogical impact of an oral history project focusing on music titled Living Music for which students complete and transcribe and interview and publish an annotated transcript on the Web. It was originally... more
This essay explores the pedagogical impact of an oral history project focusing on music titled Living Music for which students complete and transcribe and interview and publish an annotated transcript on the Web. It was originally published in the Journal of Music History Pedagogy Vol. 2, No. 1 (2011), pp. 61–80.
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From the Michigan Quarterly Review (Fall 2010) and online at http://hdl.handle.net/2027/spo.act2080.0049.406. Essay argues that Motown's political engagement pre-dates and contradicts Marvin Gaye in his auto-biography Divided Soul that... more
From the Michigan Quarterly Review (Fall 2010) and online at http://hdl.handle.net/2027/spo.act2080.0049.406.
Essay argues that Motown's political engagement pre-dates and contradicts Marvin Gaye in his auto-biography Divided Soul that Berry Gordy and Motown categorically avoided controversial subjects for business purposes before Gaye's pioneering album "What's Going On" (1971). Instead Motown used a scattershot approach to examining contemporary life of American youth that intersected issues such as the military draft, John F. Kennedy's assassination and legacy, civil rights, and even inter-racial love from 1961 forward. Based on a review of all releases of 45 rpm singles, interviews, and archival documents, this essay documents the role of white publicist Alan Abrams at the company and discusses his publicity stunt in support of white soul singer Tommy Good -- the March on Hitsville.
Essay argues that Motown's political engagement pre-dates and contradicts Marvin Gaye in his auto-biography Divided Soul that Berry Gordy and Motown categorically avoided controversial subjects for business purposes before Gaye's pioneering album "What's Going On" (1971). Instead Motown used a scattershot approach to examining contemporary life of American youth that intersected issues such as the military draft, John F. Kennedy's assassination and legacy, civil rights, and even inter-racial love from 1961 forward. Based on a review of all releases of 45 rpm singles, interviews, and archival documents, this essay documents the role of white publicist Alan Abrams at the company and discusses his publicity stunt in support of white soul singer Tommy Good -- the March on Hitsville.
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Jimi Hendrix’s 18 August 1969 performance of “The Star-Spangled Banner” at the Woodstock Music and Art Fair has been characterized as an expression of transcendent political resistance as well as crude anti-U.S. drivel. Drawing on... more
Jimi Hendrix’s 18 August 1969 performance of “The Star-Spangled Banner” at the Woodstock Music and Art Fair has been characterized as an expression of transcendent political resistance as well as crude anti-U.S. drivel. Drawing on Hendrix’s own archive of recordings, writings, interviews, stage banter, and especially live performances, this article analyzes Hendrix’s artistic engagement with the United States national anthem by locating his Woodstock Banner as a central moment in a two-year fascination with the song, brought to a close only by Hendrix’s untimely death. It presents the anthem as an artistic vehicle for Hendrix’s political musings, a thoughtful engagement with current events, and as commentary responsive to Hendrix’s immediate environment and expressive of his aspirations for the nation of his birth. Insights offered here include the roots of Hendrix’s Banner performances as ornaments to the Civil War eulogy “Taps,” the plural construction of the Hendrix Banner and an account of the aesthetic development of his anthem arrangement, the value of his recorded stage banter for understanding Hendrix’s Banner politics, the impact of the film Woodstock on Hendrix’s renditions, and the use of the Banner during Hendrix’s final 1970 “The Cry of Love Tour” as part of a closing anti-war set and call to action for the psychedelic citizen.
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Explores how musicology instruction can include details of how individual musicians have historically made a living from multiple activities (performing and teaching, for example) to encourage a broader definition of success in their... more
Explores how musicology instruction can include details of how individual musicians have historically made a living from multiple activities (performing and teaching, for example) to encourage a broader definition of success in their musical careers and inspire artistic entrepreneurship.
From Journal of the Society for American Music 8:4 (Nov. 2014), pp. 435-78. See http://journals.cambridge.org/Hendrix_ThisIsAmerica
From Journal of the Society for American Music 8:4 (Nov. 2014), pp. 435-78. See http://journals.cambridge.org/Hendrix_ThisIsAmerica